CURA.

CAROLINE MESQUITA AT FONDATION D’ENTREPRISE RICARD, PARIS

Share on:
Facebook
Twitter

For the exhibition The Ballad, presented at Fondation d'Entreprise Ricard in Paris, and curated by Martha Kirszenbaum, French artist Caroline Mesquita produced a series of twelve sculpted characters interacting and facing each other or the viewer as their presence blurs the line between fiction and reality, humans and mannequins. It is a procession, a form of public celebration, a moment of communion. Mesquita's sculptural practice intertwines the materiality of her altered, oxidized, and painted copper and brass sheets with theatrical playfulness. Her metallurgic experiments result in life-size figures, interacting with each other in a mise en scène crafted from the sculpted sheets and forming an environment of coated steel.

1/9
 
2/9
 
3/9
 
4/9
 
5/9
 
6/9
 
7/9
 
8/9
 
9/9
 

There is a distinctive boldness in Mesquita's gesture and approach to the material and the object as she transforms rough pieces of metal into a sophisticated ensemble of colored sculptures forming a joyful parade of dancing souls. The structure of the exhibition parcours is framed by large pieces of dark gray steel, evoking a sidewalk, a wing and jet engines of a dislocated plane, as if it had crashed in a faraway desert zone, providing the metal characters - perhaps the plane’s passengers - a backdrop or playground made of its leftover fragments. In the video produced for the exhibition and untitled The Ballad (2017), the artist appears alongside her sculptures and the interaction she creates pushes the limits and reinvents ways of living together. Masquerading as a myriad of characters with diverse costumes and makeup experimentation, whether personifying a pilot officer, a teenager with braces, or an elegant Gothic woman, she seems to challenge our understanding of identity construction and representation, oscillating between tenderness and violence, love and vice. As her sculptures cuddle and caress her, then attack and wound her, the soundscape of the video - metallic jingling and clinking - gives the impression of a deliciously perverse carnival.

The Ballad. Caroline Mesquita
curated by Martha Kirszenbaum

Fondation d'Entreprise Ricard, Paris
Through March 11

OTHER TIPS
Here, in the building where Georges Bizet wrote his masterpiece Carmen in 1875, Matt Copson premieres a bildungsroman opera in three laser-projected parts: Age of Coming, Coming of Age and Of Coming Age. His opera tells the story of a baby at odds with a vengeful god, who tries to convince him that life is miserable and cruel, and nothing more. On view High Art, Paris
Sørlandets Kunstmuseum, Kristiansand
Der Tank of the Art Institute, Basel
Lafayette Anticipations, Paris
Kunsthalle Lissabon, Lisbon
JTT, New York
Édouard Montassut, Paris
Avant-Garde Institute, Warsaw