Rio de Janeiro, RJ, 1997. – Lives and works in Rio de Janeiro, RJ.
PIPA Prize 2021 nominee  .

Ana Frango Elétrico is a Brazilian songwriter, poet, visual artist and musical producer. Since 2015, she has researched ordinary day to day elements, saturating reality into graphic, poetic and sonorous form. She has also released two albums of original music, “Mormaço Queima” and “Little Electric Chicken Heart”, and a catalogue book of poems and illustrations called “Escoliose: paralelismo miúdo” (Scoliosis: miniscule parallelism).

Closer to PIPA: the artist speaks in the Institute collection

Read below the text Ana Frango Elétrico sent specially for Closer to PIPA about two of her acquired artworks:

“Te acompanhei nesse xadrez I e IV (I Was With You During This Chess Match I and IV) are part of a series of prints and paintings that arise from a musical rhythmic thinking related to standardization and programming. Concerning these two works, I aim to obtain texture and plasticity using velvet.

I try to propose a vertigo and a magnetic or sound wave from the disorder or slight asymmetry of ordinary symbols and forms”.

In addition to the text above, Ana’s participation in Closer to PIPA also included a couple of questions and answers with the artist. Check out below:

In your videointerview for PIPA 2021, you mentioned that you incorporate elements of nostalgia in some of your works, as well as sounds of other decades in your music. Does “Te Acompanhei Nesse Xadrez IV” (I Was With You During This Chess Match IV) have any relation to the 2000’s? With the pop-punk, which had an aesthetic strongly represented by the singer Avril Lavigne, for instance?

Ana: I do believe there’s a connection with the 2000’s, but much more with cartoon than with the post-punk. Chromatic, narratively and scenically, it draws from cartoons like Cow and Chicken, Dexter’s Laboratory etc. I feel like, to me, the series “Te Acompanhei Nesse Xadrez” (I Was With You During This Chess Match) is a musical link between the 80’s and the 2000’s, in which pop art is also a strong reference.

Your works recently acquired by the PIPA Institute are now part of the “Displacement” collection, which, as the name indicates, gathers multiple types of displacements in Brazilian contemporary art.  Thinking about that – and about the fact that you are a multimedia artist, who works with music, text and visual arts –, in which way does this type of art enter your production to complement it?

Ana: I feel that at all times I’m thinking about music in aesthetic terms and about graphic arts in musical terms. I feel like my goal is this combined work. Not that it doesn’t show up in the works individually, my goal is this joint and fast creative reasoning of aesthetics.