Ana Torres (b.1991, Brazil) is a visual artist and writer from São Paulo. She has a Bachelor degree in Social Sciences and a formation as a ballerina. Her research envelopes intimacy and melancholy in the feminine universe. Through her performances, on digital or live, Ana discusses the economization of artistic expression and financialization of daily life, by exploring affections.
Ana is the creator and director of Meus Fluídos (My Fluids), the absurd pharmacy. An e-commerce of tears as an answer to a performance in 2019 where the artist cries in streaming platforms. Realizing that she obsessively writes letters to absent loved ones, Ana publishes those ridicule love letters in that same digital territory – Meus Fluídos (My Fluids) – in order to bring drama and daydreaming of her attempts of communication.
Ana Torres was in residency at Hangar in Lisbon (PT) in 2021, where she deepens its production mainly in the context of performance and intimacy. Ana participates in the exhibition See you, tomorrow at Atopos Gallery, in Venice (IT) and was selected by CompactaMAG of the Museum of Contemporary Art of Goiânia (BR).
'The idea of writing too many letters makes me sad'
Cartas de amor são ridículas (Ridiculous love letters) is performed in the same way it was born; in horizontal, navigating the loneliness and suffering witnessed by a mattress.
Writing reflects a state of mind around the process in relation to time, waiting and repetition.
The long narratives and eternal lines cross and disperse in an endless baroque movement.
Cartas de amor são ridículas (Ridiculous love letters), 2021
A senile woman who is crowded with a host of lice that have eaten up a variety of time, an infant who is troubled by a hernia and looks like a tiny bag of dung.
Inspired by Hijikata’s play Ailing Dancer, Cut by a catfish, 2019, is a pair of analogue self-portraits made during an isolation time a year before pandemic lockdown.
The images, as Hijikata’s Ailing Dancer is closely associated with the weakened or emaciated body.
The both images are printed in hahnemulhe paper. The first print is one photography and the second is the result of films overlapped.
Cut by a catfish, 2019 - 2021
10cm x 15cm.
Confissões (Confessions) is a performance that secrets and gossip are written on paper napkins with the drinks sold at the bar set up for art events.
The writings are excerpts from Cartas de Amor são Ridículas (Ridiculous Love Letters), phrases collected or reinterpretations of emblematic characters in literature. The quotes are chosen at the time, according to the drink purchased or the relationship between the artist and the buyer.
Cartas de amor são ridículas (Ridiculous love letters), 2020
Love letters published at http://meusfluidos.com/cartasdeamorsaoridiculas
Cartas de amor são ridículas is the artist’s latest release, developed in a moment in which she delves deeper into the sphere of both individual and collective intimacy and melancholy, exploring the erotization of life and suffering in the frontier between real and absurd.
Cartas is a project of pain recording but is also, a statute, a general balance of universal questions. The intimate, the detail, that which escaped and delves deeper into the system. The exteriority of relationships as something fluttering, created throughout the passage of time. It’s writing does not regard facts but relationships of facts in the inner and outer worlds. A collection of variables constitute each unity, in a discontinuous time, such as droplets.
In search for crumbs of man’s destiny, Ana ponders politics as great foolishness, amidst the complaining of a broken heart. Her philosophy gazes straight at the fear of living and our ways of feeling.
Soares Pereira, ou Super Puta, 2020
Decal application on traditional porcelain pieces
'Deep inside, dance and silence together on balance of tragedy and the human movement was soaked in the quiet buzz of ornamentation'
When applying marginalized female faces in old porcelain kits, Soares Pereira, ou Super Puta brings the atmosphere that involves and questions the abnormalization and pathologization of female figura, specially in domestic life.
Soares Pereira, ou Super Puta, 2020
As a manifestation of art and performance, My Fluids explores commercialized subjectivities, discussing the new psychopathy of capitalism which takes hold of our bodies, dreams, desires and discourses.
In a patriarchal, neoliberal and neocolonial world, the sales of fluids satirizes and shocks the manifestation of crying as a commercial product. My Fluids is the turn of a once silenced weep into merchandise. Along with the products, a manifesto-prescription is presented as a manual in analogy with the content of therapeutics and pharmaceuticals substances packages.
Edition and intervention in the performance record: Meu corpo tem órgãos (My body has organs), where organs and body structures are mapped in a search for rationality and survival. The exercise reflects the living complex we exist as a result of synergy between the inside and outside of the human body.
The humanity has created ecosystems as well as the internal life of our organism. The body is territory where cells are alive and mobility, and water flow are veins and arteries that grow in their own ways.
Dicks Unlimited, 2019
Maquiagem sob pôster
59cm x 82cm
Old Red Bus Station (UK) film festival, 2022 - Meu Corpo tem órgãos e Meus Fluídos Ceremony
Digital Chroma E-magazine and digital exhibition NUMERO (GER), 2021 - Cut by a Catfish
Zaratan Hammer Time (PT), 2021 - Cut by a Catfish
Open Studios Associação Castelo Dif - Hangar (PT), 2021 - Confissões, 2021
Open Day Hangar (PT) , 2021 - Cartas de amor são ridículas (performance)
See you, tomorrow - Atopos Gallery 2021, Venice (IT) 2021
Sala CompactaMAG - Museu de arte contemporânea de Goiânia, 2021
Cartas de amor são ridículas I - Histórias de Queerentena UFMG - ebook, 2021
3 Coletiva Eixo Arte Contemporânea 2020, (RJ) - Meus Fluídos