Ana Mas Projects

Represented artists

Manel Armengol, Raúl Díaz Reyes, Quisqueya Enríquez, Carmen Marical, Xavier Miserachs, Laercio Redondo, Soledad Sevilla, Joaquim Chancho, Regina Gimenez, Mercedes Mangrané, Melvin Martínez, Lucía C. Pino, Àngels Ribé.

About Gallery

Ana Mas Projects is a contemporary art gallery born in 2015 and based in Barcelona, in a 70’s industrial building at Santa Eulalia’s neighborhood in L’Hospitalet de Llobregat. It also runs a parallel programming in San Juan (Puerto Rico) since that date. The gallery represents a multi-generational roaster of 15 artists, Spanish based and international, of which two thirds are women. 

Their practice explores a wide range of media that reflect the diversity of formal and conceptual discourses and narratives that define our time, supporting their vision in a dialogue with critics and curators, institutions and collectors, to boost the research and development of their body of work. AMP is the result of the accumulated experience from two previous projects, masART gallery (2004-2012) and Maserre gallery (2013-2015).

Un martillo en la cabeza

Thursday September 15th:
From 12pm, professionals' opening / 6pm general public
Friday 16th & Saturday 17th: 11am - 8pm
Sunday 18th: 11am - 3pm

Un martillo en la cabeza’ [A hammer in the head], the first exhibition in the gallery by the artist Damaris Pan that brings together a selection of recent paintings inhabited by the characteristic lenguage of forms, textures, and color palette of the Basque  author and that is framed within the artistic programming of the Barcelona Gallery Weekend 2022.

Un martillo en la cabeza [A Hammer in the head] arises from an extirpation that Damaris Pan makes of the title of the third episode of the series Berlin Alexanderplatz, by Rainer Werner Fassbinder. A Hammer Blow To The Head Can Injure The Soul is the title of Fassbinder to which Damaris Pan refers, and brings to mind the onomatopoeic Franz Biberkopf, a grotesque character, representative image of the interwar lumpen. Un martillo en la cabeza also sounds like an ACME device, the ending of a chase between Wile E. Coyote and the Road Runner. And I do not say this for no reason, there is a lot of all this in Damaris Pan’s painting, a lot of onomatopoeia and irony. It might be the reason why her way of talking about painting is free of affectation, because despite pouring her soul into it, she is able to define as peanuts some recurring forms that appear on her paintings, which are real, sometimes they really are peanuts, and evoke Carlos Alcolea’s Las gafas del pintor (1978). They are reminiscent of them since, in Alcolea’s painting, those glasses refer to a Möbius strip that in turn would represent his vision of painting. A strip without a delimited interior or exterior, a non-orientable surface that could be those peanuts of Damaris Pan, or the peanuts could be a Möbius strip, an idea of infinity filled with that colour that until recently was called flesh tone. Whose flesh? Nobody’s flesh. Skins, if anything, which appear in each of her paintings. Painting peanuts to dilute perhaps the notion of limit, or perhaps for the opposite, to create that room of one’s own of gentle shapes, sometimes soft and viscous, as Louise Bourgeois would do, whose flesh will have a lot to do with Damaris Pan.

Damaris Pan

Damaris Pan (Mallabia, 1983, lives and carries out her artistic practice in Bilbao). Her artworks are not subject to specific themes but seek to respond to the demands of the work’s material evolution from its own singularity, so that her paintings become a catalyst for questions that challenge her about art and life.

Among her most recent exhibitions is worth mentioning the solo shows ‘Veri Pery’ at Halfhouse (Barcelona, 2022), ‘Cuernos a la Vista’ at BilbaoArte (2020) and ‘Qué Morena tú’ at Sala Rekalde (Bilbao, 2018), the duo Sugaar with Fiona Mackay at the Cibrián gallery (Donostia, 2021), the group show ‘Turno de Réplica’ at the Patio Herreriano Museum and curated by Javier Hontoria (Valladolid, 2021) and ‘Bi Dos Two’ at Azkuna Zentroa (Bilbao, 2018). She has participated in various residencies such as Kunsthochschule Weissensee Berlin (2005), Art OMI in New York (2018) and Sichuan Fine Arts Institute in Chongqing, China (2019). She also has recently been awarded the Gure Artea 2021 Prize, in the category of recognition of artistic activity. In addition, in the 2021 call she has received one of the two annual Eremuak APA Artistic Practice Grants.

Her doctoral thesis (2014) was defended from the deviation as an artistic foundation under the title “Lo Bueno, lo Bello, lo Berdadero”. She combines creation with teaching work as part of the Painting Department of the Faculty of Fine Arts of the University of the Basque Country.