- Ana Cardoso
Your Payment Verification Code is 26QNFLU9
Renata Fabbri is pleased to announce Your Payment Verification Code Is 26QNFLU9, the first personal show by Ana Cardoso at the gallery. For the occasion, the artist presents a series of new paintings that inquire into the limits of the pictorial medium and the possibilities of its expansion into installation and sculpture.
Cardoso’s approach alternates between abstraction and formlessness, materiality and illusion, conceptualism and the ready-made. Starting from an in-depth investigation of the painting medium and, in particular, of the formalist and minimalist abstraction painting movements, the artist creates modular canvases, pre-defined and anthropometric structures that once assembled, juxtaposed, staggered, stacked one over the other or in motion such as within a wide landscape of geometric fragments, generate dynamic compositions able to alter the observer’s vision and perception of space.
Through the use of simple and elementary shapes – such as triangles, squares, parallelograms, rectangles – and the unlimited formal possibilities arising from their arrangement, Cardoso’s “canvas-objects” thus open up to a conceptual and interpretative complexity that questions the concept of “finished work”, in favor of an idea of painting as a performative and changing process. Considered, therefore, by the artist as a constantly evolving activity, the painting experience means, for Cardoso, a series of endless juxtapositions, second thoughts, reversals and restructurings, in the same manner as the construction of an image, whether real or virtual: a combination of shapes, colors and materials, but also textures, pixels and invisible codes, as evoked by the title of the exhibition.
Corresponding to a series of alphanumeric characters typical of online registration and authentication processes, the title, in fact, hints at the random and, at the same time, singular nature of the artist’s activity and works on display. Behind the rigor and precision of the forms used, Cardoso’s paintings reveal an experimental approach to form that is interpreted on the pictorial support in the alternation of backgrounds, layers, patterns and symbols: brushstrokes that are sometimes meditated, at other times more instinctive, blurring the boundaries of the canvas. Borrowing from the legacy of experiences such as neo-Concretism and formalism, Cardoso explores the fundamental concepts of surface, composition and color, encouraging dialogue with the past and, at the same time, seeing them as new alphabets, vehicles of romantic experimentation, a context for accidents, questions, contamination and encounters.
Renata Fabbri is pleased to announce Your Payment Verification Code Is 26QNFLU9, the first personal show by Ana Cardoso at the gallery. For the occasion, the artist presents a series of new paintings that inquire into the limits of the pictorial medium and the possibilities of its expansion into installation and sculpture.
Cardoso’s approach alternates between abstraction and formlessness, materiality and illusion, conceptualism and the ready-made. Starting from an in-depth investigation of the painting medium and, in particular, of the formalist and minimalist abstraction painting movements, the artist creates modular canvases, pre-defined and anthropometric structures that once assembled, juxtaposed, staggered, stacked one over the other or in motion such as within a wide landscape of geometric fragments, generate dynamic compositions able to alter the observer’s vision and perception of space.
Through the use of simple and elementary shapes – such as triangles, squares, parallelograms, rectangles – and the unlimited formal possibilities arising from their arrangement, Cardoso’s “canvas-objects” thus open up to a conceptual and interpretative complexity that questions the concept of “finished work”, in favor of an idea of painting as a performative and changing process. Considered, therefore, by the artist as a constantly evolving activity, the painting experience means, for Cardoso, a series of endless juxtapositions, second thoughts, reversals and restructurings, in the same manner as the construction of an image, whether real or virtual: a combination of shapes, colors and materials, but also textures, pixels and invisible codes, as evoked by the title of the exhibition.
Corresponding to a series of alphanumeric characters typical of online registration and authentication processes, the title, in fact, hints at the random and, at the same time, singular nature of the artist’s activity and works on display. Behind the rigor and precision of the forms used, Cardoso’s paintings reveal an experimental approach to form that is interpreted on the pictorial support in the alternation of backgrounds, layers, patterns and symbols: brushstrokes that are sometimes meditated, at other times more instinctive, blurring the boundaries of the canvas. Borrowing from the legacy of experiences such as neo-Concretism and formalism, Cardoso explores the fundamental concepts of surface, composition and color, encouraging dialogue with the past and, at the same time, seeing them as new alphabets, vehicles of romantic experimentation, a context for accidents, questions, contamination and encounters.
Ana Cardoso, Form Reform (Atomic Abyss), 2022Acrylic on sewn linen and cotton, variable dimensions. Ph. Mattia Mognetti.
Ana Cardoso, Folded Figure Study, 2021Acrylic on paper, 24x31,5 cm. Ph. Mattia Mognetti.
Ana Cardoso, Path Finder, 2018-2022Acrylic and oil pastel on linen canvas, 190x78 cm. Ph. Mattia Mognetti.
Ana Cardoso, 26QNFLU9, 2021Acrylic and graphite on primed linen canvas, 39.4x39.4x56 cm. Ph. João Neves
Ana Cardoso, Hífen-Yo, 2021Acrylic and oil pastel on paper, 24x31.5 cm. Ph. Mattia Mognetti.
Ana Cardoso, Your Identity History Summary Request Has Been Accepted, 2021-2022Acrylic, oil and oil pastel on linen and cotton, 118x118 cm. Ph. Mattia Mognetti.
Ana Cardoso, Positional Coherence (How A Hidden Dynamic Skeleton Organizes The Underlying Chaotic Motion), 2020-2021Acrylic, pencil and oil pastel on primed and unprimed linen, 160x120 cm. Ph. Mattia Mognetti.
Ana Cardoso (Lisbon, 1978) lives and works between Lisbon and New York. Her multifaceted painting practice employs an array of medium-specific approaches: from abstraction to formlessness, materiality to illusion, conceptualism to the ready-made. She explores painting’s elastic content in relation to its context, its production in relation to its presentation; and pivots between the viewer and the history of painting. For her, throughout history but also in this digital age, the viewer activates and performs the painting, its flatness and its depths. She works with predefined structures – modular canvases that fit comfortably the length of her open arms, triangles, squares, parallelograms, rectangles – that mutate into dynamic new compositions which are then again reshuffled, recombined, performed, stacked, or moved through a vast landscape of fragments. Cardoso’s paintings reveal different dimensions throughout the diverse moments of their production and distribution process. Optical folds are suggested when the works are installed; her configurations play with recto-verso concepts and three-dimensionality; her folded strips present recto and verso simultaneously and become performances that integrate the broader site of painting. Within Ana Cardoso’s inclusive painting corpus, Neo-Concretism and Formalism stand out as open source alphabets that the body inhabits to reformulate former logics and parameters, using structure and the monochrome as vessels for romantic experimentation, site of accidents, questioning, contamination, encounters, and a continuous array of self-reflexive and mediated gestures.
Ana Cardoso received her MA in Fine Art from the Hunter College, New York, in 2006. She has had solo or duo exhibitions at Nuno Centeno, Porto (2019); Parapet Real Humans, St Louis (2018); Arpad Szenes – Vieira da Silva Museum, Lisbon (2018); Temnikova & Kasela, Tallin (2017); Jablonka Maruani Mercier, Knokke (2016); Andrew Rafacz, Chicago (2015); MNAC – Contemporary Art Museum, Lisbon (2015); Múrias Centeno, Lisbon (2014); Longhouse Projects, New York (2014); Maisterravalbuena, Madrid (2012); Pedro Cera, Lisbon (2012); Soloway, New York (2011); Conduits, Milan (2011); and Southfirst, New York (2008); among others. Cardoso was included in group exhibitions at Galerias Municipais – Galeria da Boavista, Lisbon (2022); Cristina Guerra, Lisbon (2021); Renata Fabbri, Milan (2020); Calouste Gulbenkian Museum, Lisbon (2018–19); MAAT Museum, Lisbon (2017); Rachel Uffner, New York (2015); Cluj-Napoca Art Museum, Cluj (2012); Prague Biennial 5 (2011); Tate St Ives (2011); The Kitchen, New York (2009); White Flag Projects, Saint Louis (2008); and Culturgest, Lisbon (2007). Her work has been featured in Artforum, Flash Art, Mousse, Modern Painters, Art in America, The Brooklyn Rail, Contemporânea and included in the book Painting Now edited by Suzanne Hudson and published by Thames & Hudson (London) in 2015. She has been awarded a Pollock-Krasner Foundation grant (2019–20) and was a fellow of Shandaken: Projects, Paint School master class, New York (2018–19).
Ana Cardoso (Lisbon, 1978) lives and works between Lisbon and New York. Her multifaceted painting practice employs an array of medium-specific approaches: from abstraction to formlessness, materiality to illusion, conceptualism to the ready-made. She explores painting’s elastic content in relation to its context, its production in relation to its presentation; and pivots between the viewer and the history of painting. For her, throughout history but also in this digital age, the viewer activates and performs the painting, its flatness and its depths. She works with predefined structures – modular canvases that fit comfortably the length of her open arms, triangles, squares, parallelograms, rectangles – that mutate into dynamic new compositions which are then again reshuffled, recombined, performed, stacked, or moved through a vast landscape of fragments. Cardoso’s paintings reveal different dimensions throughout the diverse moments of their production and distribution process. Optical folds are suggested when the works are installed; her configurations play with recto-verso concepts and three-dimensionality; her folded strips present recto and verso simultaneously and become performances that integrate the broader site of painting. Within Ana Cardoso’s inclusive painting corpus, Neo-Concretism and Formalism stand out as open source alphabets that the body inhabits to reformulate former logics and parameters, using structure and the monochrome as vessels for romantic experimentation, site of accidents, questioning, contamination, encounters, and a continuous array of self-reflexive and mediated gestures.
Ana Cardoso received her MA in Fine Art from the Hunter College, New York, in 2006. She has had solo or duo exhibitions at Nuno Centeno, Porto (2019); Parapet Real Humans, St Louis (2018); Arpad Szenes – Vieira da Silva Museum, Lisbon (2018); Temnikova & Kasela, Tallin (2017); Jablonka Maruani Mercier, Knokke (2016); Andrew Rafacz, Chicago (2015); MNAC – Contemporary Art Museum, Lisbon (2015); Múrias Centeno, Lisbon (2014); Longhouse Projects, New York (2014); Maisterravalbuena, Madrid (2012); Pedro Cera, Lisbon (2012); Soloway, New York (2011); Conduits, Milan (2011); and Southfirst, New York (2008); among others. Cardoso was included in group exhibitions at Galerias Municipais – Galeria da Boavista, Lisbon (2022); Cristina Guerra, Lisbon (2021); Renata Fabbri, Milan (2020); Calouste Gulbenkian Museum, Lisbon (2018–19); MAAT Museum, Lisbon (2017); Rachel Uffner, New York (2015); Cluj-Napoca Art Museum, Cluj (2012); Prague Biennial 5 (2011); Tate St Ives (2011); The Kitchen, New York (2009); White Flag Projects, Saint Louis (2008); and Culturgest, Lisbon (2007). Her work has been featured in Artforum, Flash Art, Mousse, Modern Painters, Art in America, The Brooklyn Rail, Contemporânea and included in the book Painting Now edited by Suzanne Hudson and published by Thames & Hudson (London) in 2015. She has been awarded a Pollock-Krasner Foundation grant (2019–20) and was a fellow of Shandaken: Projects, Paint School master class, New York (2018–19).
- Tim Etchells,
- Vlatka Horvat
- Ana Cardoso,
- Athanasios Argianas
Apr 14-16, 2023
VIP Preview Apr 13th
Established
Pav.3 – Booth 7
- Ana Cardoso
MAAT – Museum of Art, Architecture and Technology
Mar 29 – Sep 11, 2023
Curated by João Pinharanda
- Tim Etchells
La Triennale, Milan
Mar 30 – Apr 2, 2023
Created by Tim Etchells and Ant Hampton
- Serena Vestrucci
Palazzo Merulana, Rome
Mar 25 – May 21, 2023
Curated by Joanna De Vos and Melania Rossi
