Caroline Mesquita (1989, Brest, France) lives and works in Marseille, France. Mesquita graduated from the Ecole Nationale des Beaux-Arts in Paris in 2013 and attended The Mountain School of Art, in Los Angeles. A selection of her recent solo shows includes "Astray (Prologue)", Kunsthalle Lissabon, "Night Engines", 19ème Prix de la Fondation d’entreprise Ricard, Centre Pompidou, Paris (2018); "The Machine Room", Parcours Art Basel (2018); "Night Engines", T293, Rome (2017); "The Visitors", SALTS, Basel (2017), "The Ballad", Fondation d'entreprise Ricard, Paris (2017); "Pink everywhere", Kunstverein Langenhagen, Germany; "Cream Sacrifice", Jupiter Artland, Edinburgh, Scotland (2016); "Camping", Union Pacific, London (2015); "Les Bains-Douches", Les Bains-Douches, Alengon, France (2014); and "Tube", 1m3, Lausanne, Switzerland (2013). Her work was featured in many group shows, namely "GRAND OPENING (Summer Rhapsody)", KURA., Fonderia Artistica Battaglia, Milan (2018); "Loopstar", Mother Culture, Los Angeles (2018); "Voici des Fleurs", La Loge, Brussels (2018); "COOL MEMORIES", Occidental Temporary, Villejuif (2016); "Europe, Europe", Astrup Fearnley Museet, Oslo, Norway (2014); "The Space Between Us", Fahrenheit, Los Angeles (2014); "Memory Palaces", Carlier-Gebauer, Berlin (2014); "La Vie Matärielie", 156me Prix Fondation d’entreprise Ricard, Paris (2013); and "Rob Pruitt’s Flea Market", Monnaie de Paris, Paris (2012). Mesquita won, in 2017, the 19th edition of the Prix Fondation d'entreprise Ricard.
portrait photo by Elina Belou
French artist (°1989, Brest) Caroline Mesquita’s practice unfolds as a singular and audacious practice of sculpture. Bended copper sheets added to oxidized plates, recompose a corpus of fragmentary characters or objects with shifted textures and tones. Mesquita’s sculptures incarnate the complexity of object identification processes through sensitive yet tactile evocations: her objects embody body aspects, alive and organic, sometimes even performing cinematic sequences. Staging is a decisive component in dialogue with video works echoing directed recollection of spaces and events (The Ballad, 2017), purposely blurring the line between fictional operations and realistic mise en scènes.