Ana Malta

Ana Malta Artist .para

Perto da vista, 2026200x140cmI present to you one of the works I most enjoyed making in my entire life...“Perto da Vista...
07/07/2026

Perto da vista, 2026
200x140cm

I present to you one of the works I most enjoyed making in my entire life...

“Perto da Vista” is a contemporary painting that reflects on the direct impact of harm. The title plays on the Portuguese saying “Longe da vista, longe do coração” (“out of sight, out of mind”), but reverses its logic. Instead of distance softening feeling, closeness intensifies it. In this sense, the work suggests that what is kept near and visible becomes easier to affect, and therefore easier to wound.
This idea is reinforced by the phrase written on the canvas, “Como destruir um diamante” (“how to destroy a diamond”). The diamond is used as a metaphor for people defined by kindness. The work suggests that a diamond is most vulnerable when it is kept close, always within sight, and exposed on a constant basis.

The composition unfolds in a semi-magical environment, where references to purity, imagination and innocence coexist with more disruptive elements. Dispersed glasses of alcohol, objects associated with warding off the evil eye, and a jeweller’s table introduce tension between fragility, protection and transformation. This duality suggests that the same proximity that shapes and values something precious can also expose it to damage.

Taken together, the work reflects on how closeness can become both a form of care and a form of harm, showing how what is most present and genuine can also be the most susceptible.

Uma linguagem que todos falamos / Como ler um quadro, 2026130x170cmAna Malta’s series of four works for the exhibition a...
29/06/2026

Uma linguagem que todos falamos / Como ler um quadro, 2026
130x170cm

Ana Malta’s series of four works for the exhibition at the Korea Foundation in Seoul explores “Exported Korea,” examining how culture travels abroad without being flattened into stereotype. Throughout the series, the artist suggests that what is exported is always partial. Cultural essence is fully experienced only at its place of origin, so ideas, symbols, and practices inevitably transform as they cross borders.

“A Language we all speak / How to read an artwork”, proposes that cultural export has transformed language into something no longer restrictive. Through cinema, music, food and business culture, meaning becomes accessible beyond words. In this installation, a mobile phone retail stand is overtaken by a Durumi, a crane-like bird present in Korean folklore and cultural heritage. Around it, photobooths, a popular and widely used feature of everyday life in South Korea, create a layered environment of self-representation, referencing global K-pop phenomena such as BTS and BLACKPINK and reflecting how this visual culture has already travelled and become familiar in other contexts. A central figure wearing balloon-style trousers stands among photography props, while a bottle of soju lies on the floor. Traditional patterns appear alongside a television showing another Korean brand.

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O segredo do negócio, 2026130x170cmAna Malta’s series of four works for the exhibition at the Korea Foundation in Seoul ...
26/06/2026

O segredo do negócio, 2026
130x170cm

Ana Malta’s series of four works for the exhibition at the Korea Foundation in Seoul explores “Exported Korea,” examining how culture travels abroad without being flattened into stereotype. Throughout the series, the artist suggests that what is exported is always partial. Cultural essence is fully experienced only at its place of origin, so ideas, symbols, and practices inevitably transform as they cross borders.

“The Secret of Business” addresses this idea through gaming culture, international cinema and Korean corporate structure. Professional gaming, particularly League of Legends, is represented through players from top Korean teams such as T1, highlighting South Korea’s global dominance in esports. One figure forms a hand-heart gesture, a symbol that has spread globally and is now widely recognised, while another eats ramyeon, an instant noodle now popular across Western markets. References to the film Parasite link this cultural production to global visibility. The work also introduces the structure of chaebols, the large family-owned conglomerates central to South Korea’s economy and global business presence. The phrase “Compromisso dá serviço” (“commitment gives service”), written into the piece, reflects this logic of long-term obligation and interconnected production systems.

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Rótulo cultural, 2026100x150cm Ana Malta’s series of four works for the exhibition at the Korea Foundation in Seoul expl...
22/06/2026

Rótulo cultural, 2026
100x150cm

Ana Malta’s series of four works for the exhibition at the Korea Foundation in Seoul explores “Exported Korea,” examining how culture travels abroad without being flattened into stereotype. Throughout the series, the artist suggests that what is exported is always partial. Cultural essence is fully experienced only at its place of origin, so ideas, symbols, and practices inevitably transform as they cross borders.

The first work, “Cultural Label,” addresses the global rise of K-Beauty and its promise to slow ageing. Facial masks are placed in dialogue with a traditional Korean theatrical mask, while references to kimchi, a method of preservation, are reinterpreted as a desire to preserve beauty over time. The board game Yutnori introduces chance, strategy, and timing, recontextualised through the repeated, almost ritualised decisions of beauty routines. Patterns drawn from traditional Korean wooden doors and interior design run through the composition, anchoring it to domestic architecture and cultural space. A traditional Korean lamp, referencing an object held at the National Folk Museum of Korea, appears alongside a carp gliding through the scene, a symbol of natural elegance and fluid beauty.



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Os direitos estão tortos, 2026150x150cm“Os Direitos Estão Tortos” plays on the Portuguese word “direitos,” which means b...
17/06/2026

Os direitos estão tortos, 2026
150x150cm

“Os Direitos Estão Tortos” plays on the Portuguese word “direitos,” which means both human rights and straight or correct. “Tortos” means crooked or bent, so when the rights become “tortos,” the phrase suggests both injustice and a distortion of what should be straight and right.

The composition presents a fragmented global scene. A globe represents humanity, surrounded by protest signs and a microphone, calling for louder, more direct communication of shared needs. Nearby, objects of war contrast with symbols of innocence like Winnie the Pooh, a spinning top, and a Rubik’s cube, pointing to the coexistence of childhood and violence.

Voting boxes contain notes reading “os direitos estão tortos,” gesturing at systems of participation where expression exists but outcomes remain distorted. The phrase “crescem mentes, crentes e serpentes,” written across the canvas, evokes growing into thinkers, believers, or agents of harm, depending on one’s environment. A distant rugby field, structured and orderly, highlights the gap between everyday normality and global conflict.

Limbo do difuso, 2026150x150cm“Diffuse Limbo” explores boredom as a state of suspension where time loses its weight and ...
15/06/2026

Limbo do difuso, 2026
150x150cm

“Diffuse Limbo” explores boredom as a state of suspension where time loses its weight and nothing feels meaningful. The phrase painted on the canvas, “Nothing new, nothing old”, holds the key to the work: on one side, the absence of anything genuinely new; on the other, the failure of the past to excite or inspire.

Petisco da casa, 2026150x100cm“Petisco da Casa” (“House Snack”) reflects on risk, reward, and fragile prosperity, inspir...
11/06/2026

Petisco da casa, 2026
150x100cm

“Petisco da Casa” (“House Snack”) reflects on risk, reward, and fragile prosperity, inspired by the Portuguese saying “quem não arrisca, não petisca” (“nothing ventured, nothing gained”). Risk is presented as essential to growth and opportunity.

The phrase “rica em riscos” inscribed across the surface, reframed here as a life of continuous risk-taking, highlights the idea that value can emerge through uncertainty, balancing vulnerability and gain.

A raccoon symbolises opportunism and survival. A calla lily contrasts beauty with fragility, suggesting that opportunities can be brief and dependent on timing.

An arrow represents focus and intention, while a buried injured hand points to doubt and the need for belief in uncertain outcomes. Bees and honeycomb evoke collective work and productivity, but also its fragility.

A traditional game (Ouri) suggests strategy and decision-making, and a boomerang implies the return of actions and consequences. Portuguese patterns and broken eggs reinforce themes of cultural grounding and constant fragility.


Hino da solidão, 2026100x150cm“Hymn of Solitude” operates as a reflection on the difficulty of distinguishing between be...
08/06/2026

Hino da solidão, 2026
100x150cm

“Hymn of Solitude” operates as a reflection on the difficulty of distinguishing between being alone and feeling lonely.

Across the surface, the phrase “Dó ré mi fá só” is inscribed in Portuguese, translating the musical scale “Do re mi fa so…”, where the final note “só” (meaning “alone” in PT) replaces “sol” (“sun” in PT). This linguistic shift introduces a quiet rupture, transforming a musical progression associated with harmony into a reflection on withdrawal, where sound resolves not in light but in solitude.

Accompanying this musical structure, a figure of a man seated in a theatre plays the French horn. The theatre setting introduces a paradoxical space of presence without audience, where performance continues despite absence.

Imagery related to space exploration, NASA and extraterrestrial life appears throughout the composition, extending this sense of separation beyond the human scale. These references evoke vastness, distance and silence.

Within this expanded field, two little lambs are shown jumping. They recall the familiar childhood gesture of imagining animals leaping in the mind to cope with sleeplessness and night-time restlessness.

A reference to Sudoku introduces another layer of inwardness, as it is typically played alone.

ARCO Lisboa 2026 | B01Thank you to everyone who stopped by the gallery booth and experienced my work in person.My sinc...
03/06/2026

ARCO Lisboa 2026
| B01

Thank you to everyone who stopped by the gallery booth and experienced my work in person.

My sincere gratitude to Sónia and Graça for this opportunity, and to the entire team for their dedication, care, and support throughout the fair.

It was a pleasure to be part of this edition of ARCO Lisboa!

Presented by YIRI LIVING X YIRI ARTS .arts in collaboration with NOKE Lifestyle , Art X Scent brings together 15 female...
02/06/2026

Presented by YIRI LIVING X YIRI ARTS .arts in collaboration with NOKE Lifestyle , Art X Scent brings together 15 female artists from different generations and countries, including Taiwan, Japan, France, Portugal, Belgium, and beyond.

Featuring nearly 100 artworks across painting, sculpture, and ceramics, the exhibition explores themes of femininity, creation, freedom, and self-discovery through the concept of .

I’m grateful to be exhibiting alongside such an inspiring group of artists and to share my work as part of this immersive experience.

📍 NOKE Uncanny, 3F, Taipei
📅 May 12 – June 1, 2026

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Rua Da Emenda 72
Lisbon
1200-170

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