image credits: Luke Blackall, artist in profile
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Artist and sometimes curator. Ana Sofia Esteva (Mexico City, 2000) focuses her gaze on the subtleties of what goes unnoticed. Through a multidisciplinary practice, she engages with language, places, fiction, poetry, and everyday life, bringing them to the point where they become almost nothing.
She studied for a degree in Visual Arts at the National School of Painting, Sculpture and Printmaking 'La Esmeralda’ and is currently continuing her studies in the SOMA program in Mexico City. Her first solo exhibition was titled Like Salt in Food (Banda Municipal Gallery, Mexico City; November 2024 - January 2025). Other solo exhibitions include: The Unseen is Somewhere (Red de Arte Mexicano, Mexico City; November 2024) and Vapors (Ibero-American University, Mexico City; March - August 2025).
Her work has been shown in Bogotá at the Artbo fair (September 2026); in London at the Minor Attractions fair (October 2025); and in India at the Serendipity Arts Festival (December 2025). She attended the Virreina Piso Térmico Residency in Bogotá, Colombia (May 2026). She is currently a recipient of the Jóvenes Creadores 2027 grant.
Some of the group exhibitions she has participated in include: Artists Against the Bomb (MoMA PS1, New York; September 2026 - February 2027); Mañana, curated by Polina Stroganova (Palma Gallery, Guadalajara; August 2026); Particular Accumulations, curated by Rodrigo Mendoza (Servidor Local, Mexico City; April 2026); Say Cheese!, curated by Michel Blancsubé (Centro, Mexico City; October 2025); and Sense of a Place, curated by Johanna Viheli (ZdhK, Switzerland; February 2025).
As part of her curatorial work, she has carried out various projects. She has curated exhibitions at the Library of Mexico, such as I’m too sad to tell you by artist Fernanda Farjeat; It Is a Place That Does Not Exist at Red de Arte Mexicano by artist Valentina Attolini; Now, Out of Place, a group exhibition at Laguna, ENPEG 'La Esmeralda'; Something in Transit, That Does Not Speak and Peeks Through the Fog, a group exhibition at Banda Municipal Gallery; The Ball Doesn’t Care, a group exhibition at La Quiñonera; and Italics at Taller Casa Pili by artist Verónica Mejía.
She holds diplomas in Art Studies, History, and Philosophy from the Institute of Aesthetic Research, Ibero-American University, and the San Agustín Arts Center.
[artist statement]
I´m searching for almost-nothing¹. I want to find the imperceptible parts of reality and stare patiently at them. Working with drawing, video, installation, and objects, I observe subtlety in that which lies unseen yet exists. I unveil language, literature, places, stones, and fiction; always with the intention to find where they can become almost-nothing and name their significance from this silent part of reality. I pursue a notion of the minuscule sublime, a feeling that does not overwhelm, but rather affects with gentle lightness.
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¹ Almost-nothing is that which is or may be on the verge of being unapparent, that which ultimately makes up what is visible. That which remains unobserved sustains reality: dust, breath, shadows; from a simple footnote to the subtle flavor of salt in food. Near-nothingness is a philosophy that is about to dissipate, an attempt to caress nonexistence.
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