Caroline Mesquita, IN VIVO, exhibition at Pivô, Saõ Paulo, until 19 December,2020
Guillaume Leblon, special presentation, carlier | gebauer, Berlin, SUNDAY OPEN, 6 December 2020
Showroom, Gallery Weekend Berlin, 2020
Emily Wardill, Night for Day, Secession, Vienna, until 8 November, 2020
Iman Issa, Surrogates, Kunstmuseum, Sankt Gallen, until 9 August, 2020
Cecilia Edefalk, Homecoming, Norrköppings Konstmuseum, until 17 January, 2021
Caroline Mesquita, IN VIVO, exhibition view at PIVÔ, 2020.
courtesy of the artist and PIVÔ, Saõ Paulo. Photos by Everton Ballardin.
Caroline Mesquita: "In Vivo"
OCT/22 – DEC/19/2020
In “In Vivo”, the French artist Caroline Mesquita will present at Pivô a series of works created especially for her first exhibition in Brazil. The exhibition, curated by French curator Dorothée Dupuis, is expected to open on August 1st (to be confirmed) and is an unfolding of the show presented in the context of the Fondation d’entreprise Ricard award, in Paris, in 2017.
Caroline Mesquita, IN VIVO, exhibition view at PIVÔ, 2020.
courtesy of the artist and PIVÔ, Saõ Paulo. Photos by Everton Ballardin.
Mesquita will show a video installation composed of a large “mother cell”, in which the viewer will have to enter to watch a film commissioned for the exhibition. The work resembles a scientific documentary as if we were observing situations under the microscope. “It is a ballad within the human body”, reveals Mesquita, “bringing together blood cells, bacteria, viruses and many other microorganisms in abstract and colourful landscapes”.
Caroline Mesquita has been developing since a few years ambitious video installations, of which many sculptural elements are characters of the films, as the artist herself (in her first productions) and many protagonists as silent as anonymous. The stories of the videos are pretexts for building ever more complex sculptural environments―unless it is precisely the contrary, the objects inspiring Mesquita’s animated “tales”. Produced in stop-motion, the films have Melièsque accents but are also inspired by the Polish avant-garde of the 70’s cartoon, among other sources of inspiration.
Caroline Mesquita, IN VIVO, exhibition view at PIVÔ, 2020.
courtesy of the artist and PIVÔ, Saõ Paulo. Photos by Everton Ballardin.
For the exhibition at Pivô, her first in Brazil, Caroline Mesquita distanciates herself from the large rolled metal figures of her beginnings, and the noble materials (copper, brass) that composed them, to get immersed in the manipulation of cardboard, paper and plastic, so-called “poor” materials and carrying a rougher aesthetic, leaving more room for the fragile and the ephemeral. With this new video, an oniric exploration of the inside of the body, once again micro-dramas will flirt with burlesque, as human body cells and DIY worlds dissolve into one another. Mesquita here wishes to make us attentive to the details, the textures, the sounds, the pulsations that irrigate the living. As a form of meditation, and far from the theoretical discourses that one would be tempted to project on her practice, and in troubled political times which vainly seek in art an answer to insoluble problems, the artist prefers to oppose the utopia of a possible reconnection to the physical realities of our world through the physical sensations that it triggers in us.
Caroline Mesquita, IN VIVO, exhibition view at PIVÔ, 2020.
courtesy of the artist and PIVÔ, Saõ Paulo. Photos by Everton Ballardin.
The realization of “In Vivo” is a co-production between Pivô and the Fondation d’entreprise Ricard and has also the support of Institut Français, The General Consulate of France in São Paulo and Triangle France – Astérides.
Caroline Mesquita, IN VIVO, exhibition view at PIVÔ, 2020.
courtesy of the artist and PIVÔ, Saõ Paulo. Photos by Everton Ballardin.
Caroline Mesquita, IN VIVO, 2020
Hd digital video, 18.45 min
Caroline Mesquita is a sculptor and video artist, mainly working with metal. She creates sculptures likes airplanes, spaceships and motorcycles, all journey in the direction of a radical imagination. Raw material provides the spark that animates her narrative engagement with notions of science fiction, religion, embodiment, transformation, sensuality, and sociability. Mesquita’s works are darkened, patinated and roughly textured through an oxidation process. With this technique, Mesquita manipulates the metal like a form of painting. These material transformations provide a format for storytelling about the human experience and the directness of action and exchange in relationships. Either around or using her metallic creations, she also creates videos, sound environments and performance films in which she appears herself.
Caroline Mesquita distanciates herself from the large rolled metal figures of her beginnings, and the noble materials (copper, brass) that composed them, to get immersed in the manipulation of cardboard, paper and plastic, so-called “poor” materials and carrying a rougher aesthetic, leaving more room for the fragile and the ephemeral. With this new video, an oniric exploration of the inside of the body, once again micro-dramas will flirt with burlesque, as human body cells and DIY worlds dissolve into one another. Mesquita here wishes to make us attentive to the details, the textures, the sounds, the pulsations that irrigate the living. As a form of meditation, and far from the theoretical discourses that one would be tempted to project on her practice, and in troubled political times which vainly seek in art an answer to insoluble problems, the artist prefers to oppose the utopia of a possible reconnection to the physical realities of our world through the physical sensations that it triggers in us.
Caroline Mesquita, IN VIVO, 2020
Hd digital video, 18.45 min
Caroline Mesquita, IN VIVO, 2020
Hd digital video, 18.45 min