Botezatu Ana (°1982, Brasov, Romania) is an artist who works in a variety of media. By investigating language on a meta-level, Ana wants the viewer to become part of the art as a kind of added component. Art is entertainment: to be able to touch the work, as well as to interact with the work is important.
Her artworks are an investigation of concepts such as authenticity and objectivity by using an encyclopaedic approach and quasi-scientific precision and by referencing documentaries, ‘fact-fiction’ and popular scientific equivalents. By creating situations and breaking the passivity of the spectator, she absorbs the tradition of remembrance art into daily practice. This personal follow-up and revival of a past tradition is important as an act of meditation.
Her collected, altered and own works are being confronted as aesthetically resilient, thematically interrelated material for memory and projection. The possible seems true and the truth exists, but it has many faces, as Hanna Arendt cites from Franz Kafka. By contesting the division between the realm of memory and the realm of experience, she reflects on the closely related subjects of archive and memory. This often results in an examination of both the human need for ‘conclusive’ stories and the question whether anecdotes ‘fictionalise’ history.
Her works are notable for their perfect finish and tactile nature. This is of great importance and bears witness to great craftsmanship. By parodying mass media by exaggerating certain formal aspects inherent to our contemporary society, she considers making art a craft which is executed using clear formal rules and which should always refer to social reality.
Her works are an investigation into representations of (seemingly) concrete ages and situations as well as depictions and ideas that can only be realized in art. With Plato’s allegory of the cave in mind, she makes work that deals with the documentation of events and the question of how they can be presented. The work tries to express this with the help of physics and technology, but not by telling a story or creating a metaphor.
Her works are based on inspiring situations: visions that reflect a sensation of indisputability and serene contemplation, combined with subtle details of odd or eccentric, humoristic elements. By focusing on techniques and materials, she tries to grasp language. Transformed into art, language becomes an ornament. At that moment, lots of ambiguities and indistinctnesses, which are inherent to the phenomenon, come to the surface.
Her works are saturated with obviousness, mental inertia, clichés and bad jokes. They question the coerciveness that is derived from the more profound meaning and the superficial aesthetic appearance of an image. By using an ever-growing archive of found documents to create autonomous artworks, she makes works that can be seen as self-portraits. Sometimes they appear idiosyncratic and quirky, at other times, they seem typical by-products of American superabundance and marketing.
Her works focus on the inability of communication which is used to visualise reality, the attempt of dialogue, the dissonance between form and content and the dysfunctions of language. In short, the lack of clear references are key elements in the work. Botezatu Ana currently lives and works in Cluj-Napoca.
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