Alucinaciones

Ana Esteve Reig

Alucinaciones

Alucinaciones, 2026

Lilith, 2026. Video 4k, colour, sound. 18m 20s.

Alucinaciones, 2026

Lilith, 2026. Video 4k, colour, sound. 18m 20s.

Alucinaciones, 2026

Lilith, 2026. Video 4k, colour, sound. 18m 20s.

Alucinaciones, 2026

Lilith, 2026. Video 4k, colour, sound. 18m 20s.

Alucinaciones, 2026

Portales, 2026. 3D printing of PLA. 18.5 x 17 x 25 cm.

Alucinaciones, 2026

Portales, 2026. 3D printing of PLA. 18.5 x 17 x 25 cm.

Alucinaciones, 2026

Lucky Images, 2024. Room 3. General view.

Alucinaciones, 2026

Lucky Images, 2024. Frame. Video FHD, colour, sound. 8m 5s.

Alucinaciones, 2026

Lucky Images, 2024. Video FHD, colour, sound. 8m 5s.

Alucinaciones, 2026

Estudios del parpadeo, 2026. Room 4. General view.

Alucinaciones, 2026

Estudios del parpadeo, 2022. Video FHD 1920 x 1080 25 fps. 21m.

Alucinaciones, 2026

Estudios del parpadeo, 2022. Video FHD 1920 x 1080 25 fps. 21m.

Alucinaciones, 2026

Link, una historia de amor, 2024. Room 4. General view.

Alucinaciones, 2026

Link, una historia de amor, 2024. Room 4. Video 4K, colour, sound. 9m.

Alucinaciones, 2026

Link, una historia de amor, 2024. Room 4. Video 4K, colour, sound. 9m.

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The Luis Adelantado Gallery is pleased to present Ana Esteve Reig’s first solo exhibition. Hallucinations is the title chosen by the artist for this exhibition, which alludes, on the one hand, to the so-called hallucinations of Artificial Intelligence —its interpretative errors, its imaginative deviations— and, on the other, to those hybrid territories where the virtual, the symbolic and the affective merge: spaces such as cosplay, metaverses and video games, places that belong to fiction but are now an essential part of our contemporary reality.

The exhibition offers a journey through Ana Esteve Reig’s work, focusing on images produced by technology, current modes of identity construction and the transformative power of the virtual. Her gaze establishes a critical yet deeply affective relationship with digital environments, understanding them not as hedonistic spaces but as social laboratories where new forms of subjectivity can be constructed: desires, fears and mythologies. Her work destabilises contemporary regimes of visibility, proposing new forms of embodiment and agency in video-mediated environments.

Through the language of video art—poetic, narrative, and conceptual—the artist addresses universal issues such as the human need to project ourselves onto images and the way technology conditions our perception of the world. Similarly, her work engages in dialogue with contemporary feminisms, reactivating invisible figures and archetypes, generating interfaces that reconfigure the experience and imagination of the body in the virtual universe (Donna Haraway, A Cyborg Manifesto, 1991).

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