Une Chambre en Ville

Collection :

Monographs & Artists’ Books

Editor(s) :

Clément Dirié

Author(s) :

Ana JottaClément Dirié

Cover type :


Dimensions :

105 x 165 mm

Pages :


Pictures :

45 colors

Price :

CHF12 / €12 / £10 / $15


Editions :


Publication :

April 2023

Order from :

Europe U.K.

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A Guided Tour to Ana Jotta’s Most Immersive Project

For the 2022 edition of the Festival d’Automne in Paris, Ana Jotta created the site-specific project entitled Une chambre en ville (A Room in Town). During her autumn sojourn in the city, she transformed a Parisian apartment through her occupation of the space. She installed works and objects brought from her homes and studios in Portugal, and arranged the discoveries of her trawls through the streets and flea markets of Paris; she presented new works, such as wall drawings and paintings inspired by the Swiss caricaturist Rodolphe Töpffer, offering the visitor a surprising, personal, and “domestic” artistic experience. In parallel, the retrospective exhibition A comme encre (A is for Ink) dedicated to her printed matter practice—artist’s books, posters, invitation cards, “footnotes”—highlighted her creative take on and lucid critique of 20th- and 21st-century aesthetics through her versatile practice.

This publication proposes a guided and immersive tour of these two projects—wall by wall in the case of Une chambre en ville—and features an essay by curator Clément Dirié and a conversation with Ana Jotta.

Born in 1946 in Lisbon (Portugal), where she lives, sleeps, and works, Ana Jotta’s output is one of the most singular art practices of the European art scene in recent decades. Appropriating and giving new life to the objects, images, writings, and inventions of others, whether artists or amateurs, she questions the notions of categorization and originality. Her practice explores all artistic mediums: painting, sculpture, installation, audio, photography, as well as the so-called minor arts (sewing, embroidery, ceramics). Her work frees itself from any identifiable style, rejecting the very notion of signature, with a biting irony and an intelligent use of space and assemblage. Since the mid-2000s she has exhibited at Museu Serralves, Porto, 2005; Culturgest, Lisbon, 2014; Le Crédac, Ivry-sur-Seine, 2016; Établissement d’en face, Brussels, 2016; Konsthall, Malmö, 2019; and CCA Wattis, San Francisco, 2023.

Copublished with the Festival d’Automne à Paris.