The work of Ana María Millán addresses the politics of the animation and technic in relation to digital cultures and subcultures, gender and propaganda. She has developed techniques based on role playing and reenactment as methodology to make a series of plays that end in the form narrative films and video games.
It speaks from amateur cultures, pop political culture, sound territories, nature and technology, incorporating the possibilities and mistakes of the rehearsals, and narrative forms considered dysfunctional.
Her work has been shown in And we learn to keep the soil wet CARA, NY, 2023; 13th Gwangju Biennale. Minds Rising Spirits Tuning 2021; Art Encounters Biennial, Timișoara, Romania 2019; Kunstinstituut Melly (solo), Rotterdam; El ruido de las cosas al caer, FRAC Provence Alpes Côte d'Azur, Marseille 2017; Immortality for all, Savvy Contemporary, Berlin 2016; Frío en Colombia, Luis Caballero prize (solo), Archivo General de la Nación, Bogotá 2015; Ir para Volver, 12 Bienal de Cuenca, Cuenca 2014; ¿Tierra de Nadie?, Centro Cultural Montehermoso, Vitoria-Gasteiz 2011; AUTO-KINO! presented by Phil Collins, Temporäre Kunsthalle, Berlin 2009; Historias Colaterales, Centro Cultural de España, Guatemala 2008; I Still Believe in Miracles – part I, Musée d’Art Moderne de la Ville de Paris 2005.