Ananké Asseff, (1971) Buenos Aires.
She is a visual artist, with development in performing arts, and integrates different disciplines and languages.
Her work is part of Collections such as Tate Modern in London, J. Paul Getty Museum in Los Angeles, Museu de Arte Moderna do Rio de Janeiro, Centro de Arte Contemporáneo Wifredo Lam from La Habana and ARTER in Istanbul. From Argentina: Museo de Arte Moderno de Buenos Aires, Fondo Nacional de las Artes, the Museo Castagnino+MACRO, FOLA Fototeca Latinoamericana, the Museo Emilio Caraffa and the Museo Nacional de Bellas Artes Argentina.
She has represented Argentina in international Biennials such as La Habana (2010), Bienal de Curitiva (2017), BIENALSUR (2017-2018).
Her work has been featured in numerous solo and group exhibitions in Argentina, Uruguay, Brazil, Chile, Bolivia, Peru, Mexico, Colombia, Cuba, Germany, Holland, Mexico, Paris, Spain, Switzerland, United States and China.
She was nominated by the Infinity Award (USA) in Art category (2017). She has received different awards and distinctions such as Konex prize in Photography, awarded by the Fundación Konex (2012), Grant from the Fondo Nacional de las Artes in (2001, 2012,2014 and 2018), ), Premio Mamba-Fundación Telefónica Arte y Nuevas Tecnologías (2011), Premio Federico J. Klemm a las Artes Visuales (2009), scholarship from the Academy of Media Arts KHM in Germany and a residency at the Banff Centre for the Arts in Canada (2004 - 2005), Premio Leonardo a la Fotografía awarded by the Asociación Argentina de Críticos de Arte (2002), Premio Salón Banco Ciudad (2002), Premio Rioplatense de Artes Visuales (2004), subsidy from the Fondo Metropolitano de las Artes de Buenos Aires (2007), among others.
Her work has been published in diverse specialized publications such as EXIT, Spain (2007), Image- France (2008), Visura MAGAZINE, New York (2009), Mapas Abiertos, Fotografía Latinoamericana 1991-2002 by Alejandro Castellote, POETICAS CONTEMPORANEAS_Artes visuales en Argentina 1990- 2010, Fondo Nacional de las Artes, Argentina (2010), Auto Focus. The Self-Portrait in Contemporary Photograph by Susan Bright THAMES & HUDSON (2010), Laberinto de Miradas, Fotografía Iberoamericana, by Claudi Carreras, Spain (2010), Fotografía en la Argentina 1840- 2010 by Valeria Gonzalez, Buenos Aires (2011), Fotografía en Argentina 1840-2010 by Valeria Gonzalez, Buenos Aires (2011), TIME Magazine, Fototazo 2015, Magazine Photoworld China (2014), among others.
Her book ANANKÉ ASSEFF: WORKS 2001- 2012 has been published in 2012.
Asseff has developed in the Performing Arts (dance and theater) between 1990 and 2005.
She was in charge of the artistic direction of the Biennial Foundation Medife Arte y Medioambiente 2016-2017.
She lives and works in Buenos Aires.
Vision of art
1. Choose a work that represents you, describe it in relation to its format and materiality, its relation with time and space, its style and theme; detail its production process.
In general, everything I do “represents” me. The thing is how much does each of us “hides” inside each work. To mention one specific piece, P.B represents the roots of my conceptual and esthetic development. When I started the P.B series, one of my major questions was: how to represent pain without shouting, how to cry in silence. Being there and hide at the same time. P.B is a photography series in which I use myself as a subject/object of my own narrative. I work on it for three years, from 2001, to 2004. The topic is about the body, as an “object” exposed / subjected / torn by violence and it’s consequence in the feeling and values that hold and rule us.
2. In general terms, how would you suggest to approach your work?
I’m interested in generating a “set” where the public can complete the piece of art with their own story – that is the intention of many artists… More specifically, that the spectator can transcend the first capture (closer and more direct).
3. In reference to your work and your position in the national and international art fields, what tradition do you recognize yourself in? Who are your contemporary referents? What artists of previous generations are of interest to you?
I don’t think my production is related to any defined tradition, and that is the contemporary symptom. I do think it’s related to conceptual art. From the former generation artists I’m interested in, I can mention Berni, Gabriel Orozco, Pablo Suárez, León Ferrari, Robert Frank, Martín Chambi, Cindy Sherman, Tom Zwerver, Tracey Moffat, Oscar Bony, Pep Agut, Rosangela Rennó, Vik Muñiz, Carlos Alonso, Dan Graham and Bill Viola among others. In regards to my generation artists, in national and borderline territories I’m interested in the production by Alessandra Sanguinetti, Adrián Villar Rojas, Martín Sastre, Diego Bianchi, Sebastián Gordin y Jorge Macchi, between others.
4. Choose works or exhibitions from the last ten or fifteen years which in your opinion were very significant and explain why
The main reason for which I mention the following exhibitions is because they have deeply touched me. Is the best that art gives me. León Ferrari at MAMBA (Museum of Modern Art in Buenos Aires) because it was an explosion of intelligence and sensitivity, as well as the employment of different medias and moving esthetics. The exhibition curated by Lauría in the Culture House in 2007 about the relation between sculpture and drawing, because he got to join marvelous and not very accessible pieces of art and the complete group created a clear, rich and mobile speech. Dialogue land [Territotrios de diálogo] between realism and surreal in the Recoleta Cultural Center in 2006, because the whole thing generated a thoughtful, eloquent and instructive speech. Alessandra Sanguinetti at MAMBA (Museun of modern art in Buenos Aires). I got lost in the simplicity of the photographs and their texture. Surely, there were more exhibitions that I’m not remembering right now, but I do know they were, in my point of view, strongly meaningful.