Ana Torfs
"Torfs confronts us with projections and imaginings, challenging us to reassess our own images of reality. The pictures and words we see are only a framework: History is consituted principally in our perception."
(Sabine B. Vogel, Artforum, Mai 2010)

A sober look at Joan of Arc
"One central merit of Vienna’s Generali Foundation has long been that it has devoted solo exhibitions also to international artists, with a particular focus on women artists. This tradition now continues with the show featuring the work of the Belgian Ana Torfs, who was born in 1963. […] Torfs’s works articulate the overarching theme—the impossibility of framing definitive truths—with the appropriate seriousness. Portentousness and pathos are alien to Ana Torfs’s sober art. In a series of photographs that stages an encounter between harlequins and musicians, however, she demonstrates a subtle sense of humor."
(Nina Schedlmayer, Profil, September 3, 2010)

Grey reflections of many realities
"An artist limning the traces of real people and literary and historical subjects: Ana Torfs’s photographs and video works are artful and sometimes ambiguous intellectual reflections of real life."
(TG, Kronen Zeitung, September 3, 2010)

Joan of Arc before the Inquisition
"Poetic though many of her works may seem at first glance, a closer inspection reveals them to be profound, even cruel. For Torfs uses motifs as innocuous as landscapes, flowers, and portraits to lure us into a journey past places and times in a Europe defined by injustice and violence. […] Torfs’s art stages the quest for the origin of injustice in images that are as powerful as they are persuasive."
(Sabine B. Vogel, Die Presse, September 6, 2010)

An autopsy of history
"Ana Torfs approaches the narration of history with an anatomist’s knife: a highly precise study of collective truths at the Generali Foundation that is definitely worth seeing."
Ann Kathrin Feßler, Der Standard, September 8, 2010)

The abysses of nicotine and other stories by Ana Torfs
"Torfs’s works are images and reading material at once, spectacles and audio dramas—they take time, but the impression they make is lasting."
(Michael Huber, Kurier, September 9, 2010)

Polyphonic visual elegies
"An expansive cosmos for all visitors who are tempted to immerse themselves in its magic."
(Brigitte Borchhardt-Birbaumer, Wiener Zeitung, September 30, 2010)

Never trust the artist—Trust the tale
"The phrase that art might save our alienated lives caters to a trend—but in the room-sized installations of this Flemish artist, who was born in Belgium in 1963, it acquires another dimension. Rather than merely picking up on the here and now, she offers a sweeping historical, literary, and dramaturgic panorama."
(Ursula Maria Probst, Spike, October 2010)

Ana Torfs, Album/Tracks B
"Despite all the ‘strategies of distancing’ she employs, Torfs herself remains a great storyteller. She takes the time to present a meticulous ‘autopsy’ of history and stories, for instance in her installation ‘Anatomy’ (2006). […] Like her earlier works, this most recent one is distinguished by conceptual rigor and keen aesthetic sense in equal measure."
(Norbert Pfaffenbichler, Springerin, October 2010)

Indispensable artistic language
"At Vienna’s Generali Foundation, Ana Torfs presents ten large installations that illustrate how contemporary artists can give new currency to important themes, people, and places from cultural history. […] The artistic-scholarly approach practiced by many creators of art is not always as persuasive as in the work of Ana Torfs. […] Torfs’s exhibition at the Generali requires that visitors take their time, but it rewards them with an experience that speaks to several senses at once."
(Johanna Schwanberger, Die Furche, Oktober 14, 2010)