Ana Vidigal

Learn about the artist's universe through a text accompanied by a selection of works from the exhibition “All I want – Portuguese women artists from 1900 to 2020”

By Calouste Gulbenkian Foundation

Text by Lígia Afonso / Plano Nacional das Artes

The end is in the middle (2017) by Ana VidigalOriginal Source: Private Collection

Ana Vidigal is an obsessive collector of inherited materials "lost and found" in houses, attics, shops and fairs; of objects with a history the artist knows, but never reveals in her work. This is the basis of her archive of the world, an image-based and technical inventory that is the foundational broth from which she develops manual studio work that is at once rigorously disciplined by thought.

The end is in the middle (2017) by Ana VidigalOriginal Source: Private Collection

The end is in the middle, 2017 
Mixed media on paper
76,5 x 93 cm
Private Collection

There are Mornings that sing (2017) by Ana VidigalOriginal Source: Private Collection

There are Mornings that sing, 2017
Mixed media on paper
165,5 x 191,5 cm
Private Collection

The sick rose (2020) by Ana VidigalOriginal Source: Collection of the Artist, Porto

She compiles foreign and domestic magazines from the 1960s and 70s, comic strips, photo comics, needlework albums, embroidery hoops, crochet patterns, children's books, images relating to fashion and cinema, dolls, letters, stamps, boxes and packages. This never ending accumulation of the sediment and spoils of everyday life is compulsively stored and eventually cut out and reconfigured into collage paintings in which, in all their diversity of format, texture, colour and technique, the act of gluing takes on a central and agglutinating role.

The sick rose (2020) by Ana VidigalOriginal Source: Collection of the Artist, Porto

The sick rose, 2020
Painting on paper
100 x 68 cm
Collection of the Artist, Porto

WARNING (2020) by Ana VidigalOriginal Source: Collection of the Artist, Porto

WARNING, 2020
Painting on paper
100 x 68 cm
Collection of the Artist, Porto

And then I'm absent (2003) by Ana VidigalOriginal Source: Collection J. A. Figueroa Gonçalves

The titles of her works are suggestive, sometimes poetic or ironic clues that add to the reading of the work and to the small phrases she inscribes in them, invoking a deep subjectivity. They convey her interest in the "emotional damage" related to events that are either intimate or political, highlighting the tension between the feminine desire for autonomy and the place that society has reserved for her.

And then I'm absent (2003) by Ana VidigalOriginal Source: Collection J. A. Figueroa Gonçalves

And then I'm absent, 2003
Mixed media on canvas
130 x 162 x 2,4 cm
Collection J. A. Figueroa Gonçalves 

Credits: Story

Selection of works presented at the exhibition All I want: Portuguese women artists from 1900 to 2020, in its first moment at Calouste Gulbenkian Museum, Lisbon, within the scope of the cultural program that takes place in parallel to the Portuguese Presidency of the Council of the European Union 2021.

Exhibition organized by the Portuguese Ministry of Culture, Directorate-General for Cultural Heritage (DGPC) and the Calouste Gulbenkian Foundation, in co-production with the Center of Contemporary Creation Olivier Debré, Tours, and with the collaboration of the Plano Nacional das Artes (Portugal).

Curators:
Helena de Freitas and Bruno Marchand


Text by Lígia Afonso / Plano Nacional das Artes
Selection of online resources Maria de Brito Matias


Learn more about Ana Vidigal's works presented in the context of this exhibition:
All I want: Feminine Plural
All I want: The Political

Credits: All media
The story featured may in some cases have been created by an independent third party and may not always represent the views of the institutions, listed below, who have supplied the content.
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