Ana Manso
Galeria Pedro Cera
To those familiar with the work of Portuguese artist Ana Manso, her double evocation of the idea of “order” in her recent exhibitionboth in its title, “In Order of Appearance,” and in her emphasis on one of its structural pillarsmight come as a surprise. In her practice, which has been deeply rooted within the medium of painting, Manso has always rejected any form of order, much as she has avoided the manifold fields of representation. Instead, the notion of an endless “landscape” composed of layers of paint, which are reminiscent of capsules of timemoments in which the artist