photographer/visual artist


1880-1913 ARCHIVOS (0)
La buena esposa

No estuve allí
Happy life




_Currently: artistic research (pre-doctoral) at EAPA [Advanced estudies in artistic productions] program, Faculty of Fine Arts. Universitat de Barcelona, UB.
_Master Produccion and artistic research, Fine Arts, UB, 2017.
_Photography at Superior High School of Art and Disseny Serra i Abella, EASD SiA, 2002.
_Bachelor degree History of Art. Universitat Autònoma de Barcelona, UAB, 1999.


_”La buena esposa”. Photobook. Foto Colectania, Barcelona, 2018.
_“No estuve allí”. Photography. Sala Nòmada, Barcelona, 2017.
_“ttb_a.l. 3f 1P, a.f. 5f 6P”. Audiovisual with Adela Framis. Festival Loop, Espai Capra, Barcelona, 2014.
_”Persona”. Audiovisual in collaboration with Diego Mallo, Galeria Meeatings23, Barcelona, 2013.
_“Happy life”. Photobook. The Private Space, Barcelona, 2013.
_“Utopias posibles”. Photography. Museu IVAM, Valencia, 2012.
_“Migraciones. Un planeta en movimiento”. Photography. La Casa Encendida, Madrid, 2011.
_“Bosnia in transit”. Photography. Festival Inund'Art, Girona, 2008.
_“La mina”. Photography. Sonimag Foto, Barcelona, 2007.
_“Ghana 2003” Photography. Suburbe collective, Espai Barcelona, 2004.
_"Quan estaras eixuta?” Photography. XII Bienal d'Art Contemporani Sant Cugat. 2003.
_“Los ruidos del silencio” Photography. Casa Golferichs, Barcelona, 2003.
_“Les aigües de la memòria” Photography. Primavera Fotográfica, Sala Almazén, Bacelona, 2002.


_Co-Art director: “En frontera” (publication) by Marco Noris, 2018.
_Collaboration with different media and organizations such as Le Monde Diplomatique, Pallassos sense fronteres and the Akwaba Foundation.


_Shortlisted. DOCfield Dummy Award Fundació Banc Sabadell. La buena esposa Fotobook, 2018.
_Shortlisted. “All self-publishing”. The private space. 2013.
_Shortlisted. XII Bienal d'Art Contemporani Sant Cugat, 2003.



The place and the precise instant were set as the paradigm of documentary photography during the twentieth century. The physical and temporal proximity were established, through the presence of the photographic testimony as bearer of the truth and the visuality of the facts, as the necessary conditions to evidence the events.
No estuve allí is the antithesis to this classic idea, where there are no critical or decisive moments to explain the facts. There are traces, marks and witnesses of conflicts which has taken place in West Africa, the Balkans and the Middle East. It is a possible way of approaching events through silent images extracted from a research object, my own photographic archive, of which I reread through the reinterpretation of those images taken between 2006 and 2012.

Exhibition, Sala Nómada, Barcelona, 2017.

© 2019 Ana Lorente