Volume V – Anna Vogel & Maria Müller-Schareck

Volume V – Anna Vogel & Maria Müller-Schareck

November 2021

Anna Vogel lives in the Austrian mountains, in Tyrol, I live in the lowlands of the Rhine, in Düsseldorf. One, therefore, in the midst of the peace and majesty of the Alps, the other in a big city characterized by densification, traffic, and hecticness. The different speed that dominates our lives is one of the central themes in Anna Vogel’s work. Based on photography, she challenges its documentary potential by productively disrupting the surface of the image, literally overlaying and enriching it. Our conversation, conducted in the midst of the fourth wave of the COVID-19 pandemic, was possible thanks to digital communication; fast, but an inadequate substitute for face-to-face encounters.

Maria Müller-Schareck

Volume V – Anna Vogel & Maria Müller-Schareck

Sperling

all artists

Ana Navas

Ana Navas’ (*1984) practice is a combination of various art forms, including sculpture, video, painting and performance. In doing so, it focuses on user, design and art objects in the broadest sense of the word. As a sort of researcher, she explores the genealogy - the origin and development history - of such objects. She uses both a historical and a fictional approach to raise questions about the relationship between form and function and between “original” and “copy” of objects. In humorous and inventive ways Ana Navas shows that what we are - or better what we are required to be – is constructed and communicated through simple and seemingly inoffensive objects and behaviors. How is it possible that an object, such as an ironing board, is anchored in the collective memory of millions of people around the world? And how does the meaning of universal forms change in different contexts? According to Navas, this subject is important for artists and the process of creating art and design works. Where do makers get their inspiration and creativity from? To what extent is it possible to come up with an object or idea entirely on your own? Or are they by definition merged elements of things that you have seen before? And if so, to what extent can you actually claim that something is your idea?
In addition, Navas investigates how art is perceived outside the art context and where visual arts and disciplines such as design, ethnography, fashion, decoration and the relationship between “high” and “popular” culture touch each other and make connections with each other. Who decides whether an object is a piece of art, craft industry or trivial decoration?

Works

Ana Navas, Indianerbrunnen, 2019, plastic plate, cloth, acrylic, bijouterie, 15 × 25 cm

Ana Navas, Indianerbrunnen, 2019, plastic plate, cloth, acrylic, bijouterie, 15 × 25 cm

Ana Navas, Fishbowl, 2019, clothes rack, cloth, acrylic, 160 × 80 × 4 cm

Ana Navas, Fishbowl, 2019, clothes rack, cloth, acrylic, 160 × 80 × 4 cm

Test copyright

Ana Navas, My favorite female artists, 2019, plastic plate, imitation jewelry, cloth, acrylic, 2091, Ø 30 cm

Ana Navas, My favorite female artists, 2019, plastic plate, imitation jewelry, cloth, acrylic, 2091, Ø 30 cm

Ana Navas, Buddas en Lanas, 2019, water colour, cloth, bijouterie, acrylic, cardboard, 115 × 35 × 40 cm

Ana Navas, Buddas en Lanas, 2019, water colour, cloth, bijouterie, acrylic, cardboard, 115 × 35 × 40 cm

Ana Navas, Mosquitas de luz, 2019, textiles, bijouterie and styrofoam base, 17 × 29 × 12 cm

Ana Navas, Mosquitas de luz, 2019, textiles, bijouterie and styrofoam base, 17 × 29 × 12 cm

Ana Navas, Tara III, 2019, acrylic on canvas, on cotton, fake leather, 114 × 171 cm

Ana Navas, Tara III, 2019, acrylic on canvas, on cotton, fake leather, 114 × 171 cm

Ana Navas, Excuses (Dennis & Henry), 2019, ironing board, cloth, acrylic, 85 × 120 × 35 cm

Ana Navas, Excuses (Dennis & Henry), 2019, ironing board, cloth, acrylic, 85 × 120 × 35 cm

Ana Navas, Ear III, 2019, vacuum cleaner, cloth, acrylic, 88 × 40 × 35 cm

Ana Navas, Ear III, 2019, vacuum cleaner, cloth, acrylic, 88 × 40 × 35 cm

Ana Navas, Patilleras, 2018, carpet, cardboard, textile, leather, silver, 130 × 104 cm

Ana Navas, Patilleras, 2018, carpet, cardboard, textile, leather, silver, 130 × 104 cm

Ana Navas, United, 2018, mat, plaster, textile, paper, metal, 193 × 65 cm

Ana Navas, United, 2018, mat, plaster, textile, paper, metal, 193 × 65 cm

Ana Navas, Pyramid, 2018, fabric, hair, silk paint, bread, polyester resin, 145 × 155 cm

Ana Navas, Pyramid, 2018, fabric, hair, silk paint, bread, polyester resin, 145 × 155 cm

Ana Navas, Muy Agradecida, 2018, fabric used for seats in buses, 272 × 295 cm

Ana Navas, Muy Agradecida, 2018, fabric used for seats in buses, 272 × 295 cm

Ana Navas, Iron, 2018, pvc, acrylic, metal, textile, ceramic, 195 × 65 cm

Ana Navas, Iron, 2018, pvc, acrylic, metal, textile, ceramic, 195 × 65 cm

Ana Navas, Noodles (Rotelle), 2017, acrylic on denim, 187 × 178 cm

Ana Navas, Noodles (Rotelle), 2017, acrylic on denim, 187 × 178 cm

Anna Navas, Sol Lewitt Letter, 2016, permanent marker on fake leather, 293 × 140 cm

Anna Navas, Sol Lewitt Letter, 2016, permanent marker on fake leather, 293 × 140 cm

Ana Navas, Object for backdrop, 2014, styrofoam and paper maché, 90 × 150 × 60 cm

Ana Navas, Object for backdrop, 2014, styrofoam and paper maché, 90 × 150 × 60 cm

Ana Navas, Etui, 2014, bronze sculpture, fake leather, fabric, 150 × 19 cm (sculpture), 150 × 220 cm (textile)

Ana Navas, Etui, 2014, bronze sculpture, fake leather, fabric, 150 × 19 cm (sculpture), 150 × 220 cm (textile)

Ana Navas, Etui, 2014, bronze sculpture, fake leather, fabric, 150 × 19 cm (sculpture), 150 × 220 cm (textile)

Ana Navas, Etui, 2014, bronze sculpture, fake leather, fabric, 150 × 19 cm (sculpture), 150 × 220 cm (textile)

Ana Navas, Etui, 2014, bronze sculpture, fake leather, fabric, 150 × 19 cm (sculpture), 150 × 220 cm (textile)

Ana Navas, Etui, 2014, bronze sculpture, fake leather, fabric, 150 × 19 cm (sculpture), 150 × 220 cm (textile)

Ana Navas, Yet far more often than these text based pieces, one would play pure melodies on the mouth organ (version II), 2013, series of 10 objects, napkins, variable dimensions

Ana Navas, Yet far more often than these text based pieces, one would play pure melodies on the mouth organ (version II), 2013, series of 10 objects, napkins, variable dimensions

Exhibitions

Sumas y restas (with Kiko Pérez), Instituto Cultural de León, León, MX 2020

Sumas y restas (with Kiko Pérez), Instituto Cultural de León, León, MX 2020

Test copyright

Sumas y restas (with Kiko Pérez), Instituto Cultural de León, León, MX 2020

Sumas y restas (with Kiko Pérez), Instituto Cultural de León, León, MX 2020

Test copyright

El barro, la culebra y sus principios, CRISIS, Lima, PER 2019

El barro, la culebra y sus principios, CRISIS, Lima, PER 2019

El barro, la culebra y sus principios, CRISIS, Lima, PER 2019

El barro, la culebra y sus principios, CRISIS, Lima, PER 2019

Come Closer, Kasteel Oud Rekeem, NL 2019

Come Closer, Kasteel Oud Rekeem, NL 2019

Come Closer, Kasteel Oud Rekeem, NL 2019

Come Closer, Kasteel Oud Rekeem, NL 2019

To cut one’s hair by the moon, Staatliche Kunsthalle Baden-Baden, Baden-Baden, DE 2018

To cut one’s hair by the moon, Staatliche Kunsthalle Baden-Baden, Baden-Baden, DE 2018

To cut one’s hair by the moon, Staatliche Kunsthalle Baden-Baden, Baden-Baden, DE 2018

To cut one’s hair by the moon, Staatliche Kunsthalle Baden-Baden, Baden-Baden, DE 2018

I had to think of you, Galerie der Stadt Sindelfingen, Sindelfingen, DE 2017

I had to think of you, Galerie der Stadt Sindelfingen, Sindelfingen, DE 2017

I had to think of you, Galerie der Stadt Sindelfingen, Sindelfingen, DE 2017

I had to think of you, Galerie der Stadt Sindelfingen, Sindelfingen, DE 2017

I had to think of you, Galerie der Stadt Sindelfingen, Sindelfingen, DE 2017

I had to think of you, Galerie der Stadt Sindelfingen, Sindelfingen, DE 2017

I had to think of you, Galerie der Stadt Sindelfingen, Sindelfingen, DE 2017

I had to think of you, Galerie der Stadt Sindelfingen, Sindelfingen, DE 2017

Placing a mirror at the entry area is a gracious way to welcome wealth in, P/////AKT, Platform for contemporary Art, Amsterdam, NL 2016

Placing a mirror at the entry area is a gracious way to welcome wealth in, P/////AKT, Platform for contemporary Art, Amsterdam, NL 2016

Placing a mirror at the entry area is a gracious way to welcome wealth in, P/////AKT, Platform for contemporary Art, Amsterdam, NL 2016

Placing a mirror at the entry area is a gracious way to welcome wealth in, P/////AKT, Platform for contemporary Art, Amsterdam, NL 2016

Placing a mirror at the entry area is a gracious way to welcome wealth in, P/////AKT, Platform for contemporary Art, Amsterdam, NL 2016

Placing a mirror at the entry area is a gracious way to welcome wealth in, P/////AKT, Platform for contemporary Art, Amsterdam, NL 2016

Selected Solo Exhibitions

    2019

    • Sumas y restas (with Kiko Pérez), Instituto Cultural de León, MX

    2018

    • To cut one’s hair by the moon, Staatliche Kunsthalle Baden-Baden 45cbm, DE

    2017

    • I had to think of you, Galerie der Stadt Sindelfingen, DE

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    • Ich traute mich, sie zurückzugeben, weil sie nicht bissfest waren, SPERLING, Munich, DE

Selected Group Exhibitions

    2020

    • Sans Filet, Aoyama Meguro, Tokio, JP
    • III – She spins the thread, she measures the thread, she cuts the thread, with Mila Lanfermeijer, Ana Navas, Evelyn Taocheng Wang, Nest, The Hague, NL

    2017

    • Breve, Abra Caracas, VE

    2016

    • Rompeflasche, Centro de Arte Contemporáneo, Quito, EC

    2014

    • Eau de Cologne, Kunstverein Amsterdam, NL

    2012

    • Remise en Jeu, La Kunsthalle Mulhouse, FR

Publications

Press

Ana Navas, Artist in residency at Escuela Flora Ars Natura, Bogotá (with the support of Mondriaan Fonds Stichting)