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SMALL MISTAKES OF LITTLE IMPORTANCEThere are artists whose work lives in a very narrow limbo between their personal lives, their small (or large) obsessions, irony about this radically non-transmittable condition of the artistic work and the sinuous nature of the career they carry out. Ana Jotta is precisely one of these artists. Over the years the diversity of her work has run through the memories of modern and contemporary art, paradoxically seeking the possible magic of the artistic gesture along the very narrow paths of her personal taste, of her idiosyncrasies and biting irony, a poetics of the error, of the mistake and of laziness. In an interview towards the end of his life Marcel Duchamp stated “There are three types of taste: good taste, bad taste and indifferent taste. I’m for indifferent taste.” Ana Jotta’s course sometimes seems to be a work of irony about this (in itself ironic) theory of “indifferent taste”. The work Jotas is exemplary of the fissure on which rests the mechanism of meaning that Jotta defines, which is very close to that of one of her favourite artists, Marcel Broodthaers. The sculpture (or set of sculptures, or three-dimensional drawings) is a heteroclite group of forms that are very close to the letter “J”. The presence of each of these elements in the space is quite diverse: some are large, others are small, some are clearly handcrafted and others are found objects which only a search for similitude could have made turn up somewhere. On each one the signature is multiplied, but a signature without style, or made childishly like someone looking for it in the simplest attempt at identity. Style has always been one of the most fertile fields for Ana Jotta’s exercise in rejection. It should be said: style as a soughtout mark, in which one foresees a lively work of chisel and burin. This doesn’t mean that there isn’t an enormous egothic breath in the repetition of Js from Jotta which emerges in her career since she adopted a graphic sign in the eighties, which, as a brand, bore all the variations of procedures that she mobilised as art within one complex identity. Thus, Ana Jotta’s work is a periplus through the countless possibilities of her chosen wanderings and affinities, in a gallery in which those who pontificate are Duchamp and Beckett, Broodthaers and Georges Perec, Joseph Cornell and Leporello, Don Giovanni’s servant, who would invent his master’s lovers. Jotta, however, is closer to Casanova, because she is one who herself creates the inventories of her loves, of the crossings that she carries out from the appropriations she makes: of works of art, objects, images, texts, concepts, precepts and affections. So this self-portrait in J’s is just an apparent self-portrait, in the sense that it does not aspire to be more so than any other work that Ana Jotta has presented since the beginning of her course, in 1986.Delfim Sardo

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Artist Biography

Ana Maria Torres Malta Jotta: A Synthesis of Craft and Conceptual Innovation

Portuguese artist Ana Jotta emerged from Lisbon in 1946, establishing herself as a multifaceted creative force who seamlessly blends traditional techniques with groundbreaking conceptual explorations. Her artistic journey began at Escuela de Bellas Artes Lisboa (ESBAL) and La Cambre in Brussels, providing her with a foundational understanding of visual arts principles before venturing into performance art and design roles. This early exposure to diverse mediums instilled in her an adaptability that would become characteristic of her subsequent work—a willingness to embrace painting, sculpture, installation, sound, and photography alongside craft disciplines like sewing, embroidery, and pottery.

Early Influences: Jotta’s formative years were marked by engagement with theatre and cinema, fostering an appreciation for storytelling and visual communication.
Transition to Visual Arts: Recognizing her passion for artistic expression beyond performance, she dedicated herself primarily to visual arts in the 1980s, embarking on a path of experimentation and innovation.
Diverse Artistic Practices: From ceramics to textiles, Jotta’s repertoire spans across numerous mediums, demonstrating an unwavering commitment to mastering various artistic skills.

Her artistic vision is driven by a desire to challenge conventions and provoke contemplation. She consistently seeks new forms for her exhibitions, prioritizing surprise and conceptual depth over predictable aesthetics. This approach culminated in collaborative projects like “From A to C,” featuring works by Al Cartio and Constance Ruth Howes at Gulbenkian Museum in Lisbon (2018), showcasing her ability to engage with contemporary art discourse. Furthermore, retrospectives at Museu Serralves (Porto, 2005) and Culturgest (Lisboa, 2014) solidified her position as a significant figure within Portuguese artistic history.

Major Achievements & Recognition

Jotta’s career has garnered considerable acclaim, underscored by two major retrospectives that illuminate the breadth of her artistic output. “Rua Ana Jotta” at Museu Serralves presented a comprehensive overview of her sculptural endeavors, while “A Conclusão da Precedente” at Culturgest explored the evolution of her artistic ideas and techniques. These exhibitions served as pivotal moments in establishing her reputation as an artist who consistently pushes boundaries and engages with complex themes—identity, memory, and the relationship between art and society.

Museu Serralves Retrospective: Highlighted sculptural works demonstrating Jotta’s mastery of form and material.
Culturgest Retrospective: Examined her artistic development, emphasizing conceptual exploration alongside technical skill.

Ana Jotta's work stands apart due to its fusion of meticulous craftsmanship with daring conceptual ideas. She isn’t merely replicating images; she’s crafting narratives that invite viewers into dialogues about art’s role in shaping our understanding of the world. Her enduring legacy rests on her ability to inspire artists and audiences alike—a testament to the transformative power of artistic experimentation and unwavering dedication to creative vision.

ana maria torres malta jotta

1946 - , Portugal

Quick Facts

Artistic Movement Or Style: Diverse – Painting, Sculpture & Installation
Date Of Birth: 1946
Full Name: Ana Maria Torres Malta Jotta
Nationality: Portuguese
Notable Artworks:
- The Ant Song
- Cours pratique de résistance des matériaux
Place Of Birth: Lisbon, Portugal

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The Ant Song

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Giclée / Art Print

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P968JZ $12

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W307PJ $10

W316G $10

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W316Y $10

W398PJ $8

W4111J $10

W500HY $15

W500JH $15

W692G $12

W849H $8

W940BG $15

W953PJ $8

H24-GOLD $30

H24-SILVER $30

H36-GOLD $45

H36-SILVER $45

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$ 63

Summary

Giclée / Art Print

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Reproduction Frame

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Nameplate

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Protective Varnish

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Urgent

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Total Price

$ 63

Related Artworks

Artist Biography

Ana Maria Torres Malta Jotta: A Synthesis of Craft and Conceptual Innovation

Major Achievements & Recognition