{"id":393,"date":"2023-04-02T06:00:00","date_gmt":"2023-05-02T07:38:29","guid":{"rendered":"https:\/\/www.cremona-artweek.com\/?p=393"},"modified":"2023-04-02T06:00:00","modified_gmt":"2023-05-02T07:38:29","slug":"andreia-santana","status":"publish","type":"post","link":"https:\/\/www.cremona-artweek.com\/2023\/2023\/04\/02\/andreia-santana\/","title":{"rendered":"Andreia Santana"},"content":{"rendered":"\n<p><strong>Andreia Santana\u00a0<\/strong>(Lisbona, 1991) \u00e8 un\u2019artista visiva che vive e lavora tra Lisbona e New York. Studia a Lisbona e si specializza presso l\u2019Hunter College di New York. Nel corso degli anni sviluppa mostre in luoghi privati come UNA galleria di Piacenza, che la rappresenta in Italia, e Boavista Gallery di Lisbona, o pubblici come il Serralves Museum of Contemporary Art a Porto. Nel 2016 vince il Novo Banco Revela\u00e7\u00e3o Prize. Ora \u00e8 a New York per la residenza 2023 NYC \u2013 Based Artists. La ricerca artistica di Andreia Santana si fonda sulla pratica della scultura, attraverso l\u2019uso di materiali come il vetro, il metallo e l\u2019acciaio. L\u2019artista osserva e si appropria di specifiche tecniche archeologiche al fine di analizzare la pratica culturale contemporanea, diventandone parte attiva. In questa narrazione, vengono indagate questioni che si trovano al di l\u00e0 della storia come la pratica del lavoro e il regime del potere fondanti la cultura dell\u2019essere umano.\u00a0<\/p>\n\n\n\n<p>All\u2019interno di Cremona Contemporanea &#8211; Art Week, Andreia Santana presenta il corpus di opere \u201cAgnosia (Ancient rest)\u201d e la serie \u201cVessel\u201d presso Palazzo Guazzoni Zaccaria.<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" src=\"https:\/\/www.cremona-artweek.com\/wp-content\/uploads\/2023\/05\/989434j0fZ6OVi-1-1024x768.jpg\" alt=\"\" class=\"wp-image-1137\" \/><figcaption class=\"wp-element-caption\">Andreia Santana, <em>Agnosia (Acient rest) #2<\/em>, 2018, acciaio dipinto, 46 x 92 x 42 cm<br><\/figcaption><\/figure>\n\n\n\n<p>Negli ultimi anni, Andreia Santana si \u00e8 occupata ampiamente di scoprire le operazioni museografiche e archeologiche che portano all\u2019esibizione di artefatti decontestualizzati rispetto alla sede originaria, che disgregano il significato dell\u2019oggetto e disumanizzano l\u2019anonimo autore che l\u2019ha prodotto. Mettendo in discussione le storie di alienazione e agentivit\u00e0 nel lavoro archeologico, l\u2019artista cerca di comprendere i modi in cui il tempo funziona come una forma di investimento della civilt\u00e0 e come il suo valore si sia modificato nel corso dei secoli, partendo da un ritmo scandito naturalmente per arrivare all\u2019attuale prigionia temporale in cui si ritrova l\u2019umanit\u00e0. L\u2019interesse di Santana per il ritmo temporale come <em>t\u00e9chne<\/em>, ovvero prodotto dell\u2019attivit\u00e0 dell\u2019uomo, propone una visione del lavoro archeologico come estensione delle capacit\u00e0 umane piuttosto che come condizione planetaria. Questo corpus di sculture in acciaio e rame estende la sua ricerca alla comprensione di condizioni di lavoro complesse che collegano il lavoro vincolato dei migranti negli scavi archeologici alla formazione di mercati paralleli per manufatti. Santana \u00e8 interessata anche alla pratica del \u201cbaksheesh\u201d, una ricompensa monetaria che incentiva i lavoratori ad accelerare il recupero di oggetti intatti da un sito archeologico, evidenziando come questa serie di lavori nasca da un impegno critico nei confronti di un certo \u201cmoralismo contrattuale\u201d, che sfoca rapidamente ogni chiara separazione tra corruzione e sopravvivenza economica.<\/p>\n\n\n\n<figure class=\"wp-block-image size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.cremona-artweek.com\/wp-content\/uploads\/2023\/05\/h800-9894349YMR0v3X-768x1024.jpg\" alt=\"\" class=\"wp-image-1139\" width=\"640\" height=\"853\" \/><figcaption class=\"wp-element-caption\">Andreia Santana, <em>Vessel #3<\/em>, 2020, rame, 122 x 83 cm<br><br><\/figcaption><\/figure>\n","protected":false},"excerpt":{"rendered":"<p>Andreia Santana\u00a0(Lisbona, 1991) \u00e8 un\u2019artista visiva che vive e lavora tra Lisbona e New York. Studia a Lisbona e si specializza presso l\u2019Hunter College di New York. Nel corso degli anni sviluppa mostre in luoghi privati come UNA galleria di Piacenza, che la rappresenta in Italia, e Boavista Gallery di Lisbona, o pubblici come il [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[],"acf":{"testo_eng":"<!-- wp:paragraph -->\n\n<b>Andreia Santana <\/b>(Lisbon, 1991) is a visual artist who lives and works between Lisbon and New York. She studied in Lisbon and specialized at Hunter College in New York. Over the years she has developed exhibitions in private venues such as UNA galleria in Piacenza, which represents her in Italy, and Boavista Gallery in Lisbon, or public venues such as the Serralves Museum of Contemporary Art in Porto. In 2016 she won the Novo Banco Revela\u00e7\u00e3o Prize. She is now in New York for the 2023 NYC - Based Artists residency. Andreia Santana's artistic research is based on the practice of sculpture, through the use of materials such as glass, metal and steel. The artist observes and appropriates specific archaeological techniques in order to analyze contemporary cultural practice, becoming an active part of it. In this narrative, issues that lie beyond history such as the practice of labor and the regime of power foundational to the culture of human beings are investigated.\n\nAs part of Cremona Contemporanea - Art Week, Andreia Santana presents the body of works <em>Agnosia (Ancient rest)<\/em> and the series <em>Vessel<\/em> at Palazzo Guazzoni Zaccaria.\n\n[caption id=\"attachment_1137\" align=\"alignnone\" width=\"843\"]<img class=\" wp-image-1137\" src=\"https:\/\/www.cremona-artweek.com\/wp-content\/uploads\/2023\/05\/989434j0fZ6OVi-1.jpg\" alt=\"\" width=\"843\" height=\"632\" \/> Andreia Santana<b>, <\/b><i><span style=\"font-weight: 400;\">Agnosia (Acient rest) #2, <\/span><\/i><span style=\"font-weight: 400;\">2018, <\/span><span style=\"font-weight: 400;\">painted steel, <\/span><span style=\"font-weight: 400;\">46 x 92 x 42 cm<\/span>[\/caption]\n\nIn recent years, Andreia Santana has dealt extensively with uncovering the museographic and archaeological operations that lead to the exhibition of artifacts decontextualized from their original location, which disintegrate the meaning of the object and dehumanize the anonymous creator who produced it. By questioning the histories of alienation and agentivity in archaeological work, the artist seeks to understand the ways in which time functions as a form of civilization's investment and how its value has shifted over the centuries, starting from a naturally punctuated rhythm to the current temporal imprisonment in which humanity finds itself. Santana's interest in temporal rhythm as <i>t\u00e9chne<\/i>, or product of human activity, proposes a vision of archaeological work as an extension of human capacities rather than a planetary condition. This body of steel and copper sculptures extends her research to an understanding of complex working conditions that link the constrained labor of migrants in archaeological excavations to the formation of parallel markets for artifacts. Santana is also interested in the practice of the \"baksheesh,\" a monetary reward that incentivizes workers to expedite the recovery of intact objects from an archaeological site, highlighting how this series of work stems from a critical engagement with a certain \"contractual moralism\" that quickly blurs any clear separation between corruption and economic survival.\n\n[caption id=\"attachment_1139\" align=\"alignnone\" width=\"697\"]<img class=\"wp-image-1139\" src=\"https:\/\/www.cremona-artweek.com\/wp-content\/uploads\/2023\/05\/h800-9894349YMR0v3X.jpg\" alt=\"\" width=\"697\" height=\"929\" \/> Andreia Santana, <em>Vessel #3<\/em>, 2020, copper, 122 x 83 cm[\/caption]\n\n<!-- \/wp:paragraph -->","location":[280]},"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v22.6 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Andreia Santana - Cremona Contemporanea | Art Week - ed. 2023<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.cremona-artweek.com\/2023\/2023\/04\/02\/andreia-santana\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Andreia Santana - Cremona Contemporanea | Art Week - ed. 2023\" \/>\n<meta property=\"og:description\" content=\"Andreia Santana\u00a0(Lisbona, 1991) \u00e8 un\u2019artista visiva che vive e lavora tra Lisbona e New York. 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