Ana Martínez Fernández

----What is your favorite story?
Probably the most romantic one.
They enter the room and what they see is something rather spooky -layers of context, one on top of another, fragmented, dispersed; what you would identify as contemporary living.
So, they get in there and they want to lay down, get themselves under the bedsheet or something similar, but the entire thing seems to be elastic.
But anything belongs to you?
Nothing belongs to me, which is quite liberating. It is actually just a chair, a rocking chair from that courtyard. In a way it makes it easier to be intuitive.----

Call and Call is based on an examination of certain references in pop culture and on an exploration of the dynamics that attract us to these references to such an extent that we embrace them as cultural artefacts. From their vulgarity to our appreciation of them, the intention is to investigate the gesture of intimacy in a specific historical context, but also on a personal and collective level.
 
The origin and the more formal aspect of what this work addresses is centred (albeit not exclusively) on the encounter of a few old beach chairs. Without paying too much heed to the materiality or the symbolic charge of these objects, the intention is to transform the narrative of the form of these found chairs towards their dispersion - not however their disappearance - based on the juxtaposition or the cut-up of visual and methodological literary references of the New Narrative.

Ana Martínez Fernández (Madrid 1982), studied Fine Arts at the University of the Basque Country and Contemporary Art Theory at Goldsmiths College University of
London. Since 2021 she has coordinated Pradera, an independent space in Madrid.

Her practice revolves primarily around the world of sculpture, a sculptural world that is highly informed by both the written and the spoken word. She is interested in the complex nature of social narratives, particularly in the implications of the consumption of products or images, through what is paradoxical or contradictory in the mechanisms of desire and the absence or presence of innocence in those mechanisms.

Her previous exhibitions include: The Baddest (La Más Mala), with supermala.europe (2020), dream>floor (sueño>suelo), in Salón, Madrid (2019), Tongue Finishes Back at the Root of Itself, in Pehu, Osaka (2019), Giz a Kess, in Alimentación30, Madrid, (2019), Tetracontameron, in the Space in Between, London (2016) or the group exhibition, My Beach in Douarnenez (2016).