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

Selected works

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.