Anna Talens


She concentrates the essence of all her lived lives into only a few centimetres. Her great capacity to suggest through materials and textures is perfected in each of her works, thus allowing an annulling of sense to then fall into the hands of emotion and the sensorial. AnnaTalens is an expert in lightness, and states that she opts to choose that which helps her to be happy in order to talk about that which makes her suffer.

When she was interviewed a couple of years ago by Irene Gras, AnnaTalens answered the question, Where does your work start from? with an extremely precise response: “On the level of historical artistic contextualisation, my work starts out from the found object, from ‘Arte Povera’, but is more refined, more transformed.

I call it “organic minimalism”, a practice that is linked to the language of some Brazilian artists, where what is found or manufactured is organised in a geometric and rational manner, almost on the edge between order and the random. Also, I am interested in contradiction, so my objects are antagonistic, and enjoy a dual quality, being free and fragile”.1
Things, forTalens, including those things that seem more trivial, are charged with meaning and with poetry and with possibilities of interpersonal communication, as well as with biography, and — why not? — with history.

She rummages around and collects from among the materials those that are most attractive for her and as easily uses feathers as gold leaf, pieces of glass, pins, canvases, pieces of flotsam or of fishing nets, of mirrors, threads and ropes, and also sheets of paper, as painting and drawing, as photography, etc. etc.

Through manipulations that are often slight or scarcely perceptible she grants a new identity to the elements, both to the feathers and to the copper cable in the series Rebuilding birds (La reconstrución de las aves), 2014, and to the sheets of craft paper with which she makes an assertive book in the terms of its title, Du und ich (You and I), 2014, or the mirror that reflects the reader’s face and place in Yo (Me), 2015.

Most of the time her manufactured objects project an ambiguous image or show a conceptual contradiction, and also possess an existential discourse that is supported by simple geometrical shapes.

At times a sort of contained or subjugated violence is released from her works, which alters the poetics that floods them and at times grants them a social or political sub-content. For example, the spectator who approaches To caress a dangerous field (Acariciar un campo peligroso) will contemplate a broad silk rectangle (in yellow, red or green) pierced by hundreds if not thousands of pins; if one rubs them in the correct direction, she says, one will hear the tinkling of the metal, if one does it wrongly one will be pricked by the needles. One of her most important series, Broken Glass (Vidrio quebrado), uses fragments of glass, from the bulbs from the Palace of the Republic, the head offices of the Parliament of the German Democratic Republic in former East Berlin, which has now been demolished.

María de Corral
Lorena Martínez de Corral

1 Gras, Irene. AnnaTalens: Elegancia, suavidad y delicadeza, MAKMA Revista de artes visuales y cultura contemporánea, elegancia-suavidad-y-delicadeza/.


My objects and installations are meetings and dialogues between materials and elements which were previously separated.The resulting identity is a fusion between the original function and the new meaning which completes it with an existential, poetic or symbolic sense.

I recover traditional analogical, manual and primitive processes in the context of our digital era. My processual decisions are based on the combination of two principles: the use of repetitive processes of manufacturing and the reusing of those objects already existing in the world (objet trouvé).

The results are unique pieces which connect the spectator with something recognisable, and at the same time with something strange, turning the ordinary into the extraordinary.

In constant dialogue between the materials and the coexistence of opposites, I use resources such as repetition, arbitrariness and accumulation, through the cultivating of a minimalist disposition perverted by the presence of the colour and texture of the material.

I always look for the beauty of the imperfection of the objects, which is also reflected in the manual processes and in the growth of the beings of nature.

I tell stories about the complexity of existence through objects. I share the poetry of simplicity, of the beautiful and of the rustic, captivating the spectator in the contemplation of an object that stands as something sacred.

Anna Talens 2015


AnnaTalens (Carcaixent, 1978), Vive y trabaja en Berlín – Viu i treballa a Berlin – Vive e lavora a Berlino – Lives and works in Berlin


Es artista y doctora en Bellas Artes por la Universidad Politécnica de Valencia (sobresaliente cum laude, mención europea y premio extraordinario de tesis doctoral de la UPV 2013).Tema: «La transformación de la experiencia de la naturaleza en arte. El nomadismo y lo efímero», codirigida por Maribel Domènech y Javier Maderuelo.

Cuenta con una formación académica internacional, como estudiante invitada en Bauhaus Universität-Weimar; The Australian National University, School of Art, Canberra; Fábrica, Benetton,Treviso y Fakultät Bildende Kunst – Universität der Kunste- Berlin y como personalinvestigador invitado en Bauhaus Universität-Weimar y en Central Saint Martins College of Art and Design, University of the Arts, Londres.

Ha trabajado como personal investigador y docente en la asignatura Proyectos II del Departamento de Escultura de la UPV (2003-2007), durante el tiempo de disfrute de la beca de Formación de Personal Investigador (FPI) concedida por la Conselleria de Cultura


2014 La cosecha. Art Track! Les Prochaines. ABC Berlín Comisariada por la Dr. Bettina Springer. Berlín
Beauty and decay. Between you and me. Comisariada por la Dr. Bettina Springer. Berlín

2013 Mar de fondo. Freijo Gallery. Madrid
Zaun und Netz. Espace Surplus. Comisariada por la Dr. Bettina Springer. Berlín

2010 Mein innerer Garten. PlattenPalast. Berlín
Trama y urdimbre. Enblanco. Berlín

2009 Vom Mittelmeer, mit Schuppen aus Seide. Kunstverein Kreis Ludwigsburg e.V.
Comisariada por Silke Opitz. Ludwigsburg

2007 Leve. Galería pazYcomedias Encuentro entre dos mares-Bienal de São Paulo-Valencia

2006 Tejidos e interiores. LaGaleria. Barcelona

2004 Im verwunschenen Garten. Galerie im Kunsthaus. Comisariada por Silke Opitz. Erfurt


(selección desde el 2008 / selezione dal 2008 / selection since 2008)

2015 Art Situacions II. España e Italia

2014 Summa Art Fair. Galería Freijo. Madrid

Colectiva. Galería pazYcomedias. Valencia

Artslibris. Stand Galería pazYcomedias. Barcelona

Mitificando el plano. Galería Freijo. Madrid

2013 Feria de arte Estampa. Stand Galería Freijo. Madrid

Feria de arte Summa. Stand Galería Freijo. Madrid

PINTA Artfair. Stand pazYcomedias. Londres

Kunst über und für den Plattenpalast, Plattenpalast. Alemania. Comisariada por Carsten Wiewiorra. Berlín

Unterströmung. The Castle am Kreuzberg, Belle Etage. Comisariado por Arianna Plevinasi. Berlín

Colectiva. Galería pazYcomedias. Diálogos. Colección DKV. Museo Patio Herreriano. Valladolid*

Premi Ciutat de Palma. Casal Solleric. Palma de Mallorca*

2012 VII Bienal d’art Riudebitlles. Obra sobre papel. Barcelona*

European glass context, Bornholm, Dinamarca. Con la ayuda del Ministerio de Cultura

PINTA Artfair. Stand Galería pazYcomedias. Londres

Colección DKV. Casino de la exposición. Sevilla

Alice in Wonderland, Am Kulturforum. Berlín

Colección DKV. Centro de El Carmen. Valencia

JustMad 2012. Stand Galería pazYcomedias. Madrid

2011 Roomart. Universidad Politécnica de Valencia

¿Hay alguien ahí?. Exposición de arte en vidrio. Caja de Luz. Universidad Politécnica de Cartagena

Artingroup, Centro del Carmen. Valencia

Premio Internazionale Giovane Scultura, Fondazione Francesco Messina, seconda edizione.

Comisariada por Lorena Martínez de Corral. (Con la colaboración del Ministerio de Cultura). Casabeltrame

Colección DKV. CADA de Alcoi

Arte Santander 2011. Solo project. Stand Galería pazYcomedias. Santander

Colección DKV. Salas de la Diputación de Cádiz

Feria de arte contemporáneo SWAB. Stand Galería pazYcomedias. Barcelona

JustMad 2011. Stand Galería pazYcomedias. Madrid*

A l’abast de la mà. Anna Talens, Mar Arza y Marta Espinach. Galeria Sicart, Galería pazYcomedias y Galería Cànem

2010 Cartografías de la creatividad. Cien por cien valencianos. Museo de Arte Moderno. Santo Domingo*

ArteLisboa 2010. Stand Galería pazYcomedias

Puntas de Flecha. Lonja de pescado. Alicante*

Foro Sur. Stand Galería pazYcomedias. Cáceres

Colección DKV. MACUF. A Coruña Just Mad. Stand Galería pazYcomedias. Madrid*

Cartografías de la creatividad. Cien por cien valencianos. Centro del Carmen. Valencia*

2009 Art/Salamanca. Stand Galería pazYcomedias

ArtLisboa. Stand Galería pazYcomedias. Lisboa*

Puntas de flecha. Las Atarazanas. Valencia*

Arte Santander. Stand Galería pazYcomedias

Beschleunigung-Aceleración. Lechwerke AG. Augsburg.

Zeitgenössische Kunst in 6 Feiningerkirchen, Kromsdorf

Nostàlgia de futur. Homenatge a Renau. Centre del Carme. Valencia

2008 KIAF. Korea International Art Fair. Galería pazYcomedias. Seúl

Dichtheit und Leere. Galerie 100Kubik. Köln

XII Bienal de Escultura y Obra en Tres Dimensiones Vila de Mislata. Valencia

2007 Premios Senyera de Escultura. Galeria delTossal. Valencia*

ValenciaArt. Hotel Astoria. Galería pazYcomedias – hab. 214. Valencia

CIGE. China International Gallery Exposition. Galería pazYcomedias. Beijing.*

XXXIV Premio Bancaixa de Pintura, Escultura y Arte Digital. IVAM. Sala de la Muralla. Valencia

EAC’ 07. MUA. Museo de la Universidad de Alicante*

* con catálogo


Artwork in Exhibition