(this page was last updated in March 2021)
Maceió, Brazil, 1980.
Lives and works in Porto Alegre, Brazil and Berlin, Germany.
Represented by Punto Gallery
PIPA 2016, 2017 and 2019 nominee.
Marina Camargo was born in Maceió, Alagoas, and lived in Porto Alegre almost her whole life. She studied Visual Arts at Instituto de Artes (UFRGS, Porto Alegre), where she also completed her master’s degree in Visual Arts in 2007 (emphasis on visual poetics). She studied Visual Culture at Universitat de Barcelona (Department of Visual Arts, Spain).
Video produced by Do Rio Filmes exclusively for PIPA 2019:
Camargo received the DAAD scholarship for artists in 2010, when she went to study Germany, later receiving the Diploma from the Akademie der Bildenden Künste (AdBK Munich). Marina Camargo has held several solo exhibitions, including: “Antes, e ainda agora” (Espaço Cultural ESPM, Porto Alegre, 2018), “Ensaio sobre uma ordem das coisas” (Goethe-Institut Porto Alegre, 2015), “Reflexo Distante” (Galeria Bolsa de Arte, Porto Alegre, 2013), “Biblioteca” (Centro Cultural São Paulo), among others. Camargo participated in group exhibitions as “RSXXI – Rio Grande do Sul Experimental” (Curatorship of Paulo Herkenhoff in the Santander Cultural, Porto Alegre), “Arte e Ciência: nós entre os extremos” (Curatorship of Paulo Miyada, Instituto Tomie Ohtake, São Paulo), “Cidade Gráfica” (Curatorship of Celso Longo, Daniel Trench and Elaine Ramos, Itaú Cultural, São Paulo), 8th Biennial of Mercosur (curatorship of Aracy Amaral, MARGS, Porto Alegre), among others.
In 2019 she received the Açorianos Award (from the Secretaria Municipal de Cultura, Porto Alegre) for the “Before, and even now” in the category Best exhibition of the year, and in 2014 received the Açorianos Award in the category featured artist of the year. In 2013 she received the Incentive Scholarship to the Visual Arts Production (Bolsa Estímulo à Produção em Artes Visuais) of FUNARTE, when she developed the project on the Brazilian Sertões titled “Como se faz um deserto” (The making of a desert). In 2012 she was the winner of the Iberê Camargo Grant for a artistic residence at Gasworks, London. During this period she begins the research on Beckton Alps, a video project and publication completed on 2018. In 2010 she received the DAAD Scholarship for visual artists to study with the artist Peter Kogler at the AdBK in Munich.
Marina Camargo’s works are part of the collections of Rio Art Museum (MAR), Museum of Art of Rio Grande do Sul (MARGS), Cultural Center São Paulo (CCSP), Vera Chaves Barcellos Foundation and Museum of Contemporary Art of Rio Grande do Sul (MAC-RS).
Text excerpt for the group exhibition “ACIREMA”, at Honor Fraser Gallery, in Los Angeles
Marina Camargo’s work is anchored around an ongoing investigation about the representation of various things and phenomena in the world; exposing the tensions that exist between the world we inhabit and the world that is represented to us via images and other types of material culture. Often developing projects through long-term extensive research processes, Camargo most recently has been exploring the representation of various landscapes—as images, as memories, as travel narratives, and as cartographies. Her interests highlight the impossibility of representing complete realities and locales and through her work she draws attention to the elements that are lost, silenced, and forgotten in the space between reality and representation.
The work featured in this exhibition (ACIREMA) encompasses a library of abandoned memories in the form of postcards and photographs purchased in antique shops in Germany. All of the original images depicted the Alps, and the postcards included intimate messages, and registers of their movement across time and place. Painting over the landscapes, Camargo further erases these locales while simultaneously re-rendering them with black ink. The configuration of these thoughts and gestures is assembled as a constellation in its own right; forming another imaginary landscape out of the fragmentation and incompleteness that defines our abilities to represent the world we inhabit.
Cesar Garcia is the Chief Curator and Director of The Mistake Room.
Mario Gioia, 2012
In Planisfério (Planisphere), Marina Camargo’s work orbits between its two main artistic thrusts: the attempt to encompass something of amplitude and the more detailed focus on the specific and the indicatory. At the crossings between landscape and confinement, the intuitive and the conventional, the diluted and the determined, the Porto Alegre-based artist uses drawing as the springboard for her works. Camargo, however, has visual supports in the lines, outline and other atomic elements of such language. The thinking in the drawing is the essential ingredient, something prior to the results exhibited in galleries.
“[…] I make reference to a broader notion of drawing related to the formation of a visual thought. […] I believe that drawing has the power not only to expand as a field, but also to be understood as a malleable, permeable, porous field. […] For me drawing is very close to the field of ideas, of forming ideas and perceiving the world […]”1, she remarks.
In the Zip’Up room, therefore, the artist’s proposition can be seen as an installation space, rooted in the idea of a drawing that pulls away from the plane, formed by the interventions from 2012 Projeção I and Projeção II and Inventário de Águas – Lagos/Lagoas (Inventory of Waters – Lakes/Lagoons) and Inventário de Águas – Rios (Inventory of Waters – Rivers). The first set uses the contours of a world map seen on two walls of the room. As if the projections were unfolding in adhesive vinyl on the floor, such planispheres are marked by latitudes and longitudes, absent in the wall representation. The second set meanwhile makes use of architectural templates – cut out in usually blue-coloured, translucent acrylic – to record the principal river basin and lakes/lagoons in Brazil. Through the four sheets of overlapping acrylic, the compositions make use of the cut out spaces, playing with the colours and transparency and the fragile materiality to create a cartography that tangibly ceases to provide any precise reproduction of that which originally gave rise to their creation. In Projeção I and Projeção II, the same procedure is adopted: the representations of the globe function now as windows (on the walls), now as projections or virtual places of edges and boundaries stripped of their primary function (on the floor).
This re-presentation of systems made by Camargo ends up scrambling the most incisive, regular and surefire notions that surround us. If maps – now, through mobile devices, more omnipresent and everyday than ever – are human constructions also created to facilitate understanding of the surrounding area and with structural frameworks that are currently compromised – due to scientific postulations now seen as dubious and political doctrines in rapid decline, for example – what does the artist actually want to discuss? “Where representation of the world fails and cannot cope with reality, but indicates something of it, even if piecemeal, drawings stem from precise references, but perform no function at all”, she states.
Therefore, uncertainties, incompleteness and flaws revealed in the gaps of a hegemonic argument – “Could there be cartographies that are not at the service of the domination?”2, asks the Colombian curator José Roca in a text for Ensaios de Geopoética, the 8th Mercosur Biennial, held in 2011 and featuring Camargo – are perceived through the construction of a strong artistic process, even when the resulting displacements and decantations may seem, a priori, very precise.
Camargo’s work, therefore, is more connected to the erosive, continually transmuting character of concepts conveyed and defended by, to name but one, Smithson, in this one of the new central avenues of contemporary art. Like the artist’s previous works, Planisfério is founded on a precarious and finite design, bringing an unstable existence to the fore. The dissolution of lines and volumes of Geografias (2011), the open aspect of Open Horizons Project (2010), the references that float and fade from Atlas do Céu Azul (2010) and the weak light of Some Air in Between (2011) are intimately linked to the present exhibit and, bit by bit, add robustness to one of the most interesting recent productions of Brazilian contemporary art.
1. VÁRIOS. Lugares/Representações – Andrei Thomaz, Daniel Escobar, Marina Camargo. São Paulo, Funarte São Paulo, 2011, p. 40
2. ROCA, José (org.). Ensaios de Geopoética – 8ª Bienal do Mercosul. Porto Alegre, Fundação Bienal do Mercosul, 2011, p. 44
– Master’s degree in Visual Arts, emphasis in Visual Poetics, PPGAVI, Post Graduate Program of Visual Arts, Federal University of Rio Grande do Sul, UFRGS
– Post-Graduate Degree, Studies on Visual Culture, University of Barcelona, Barcelona, Spain
– Bachelor’s degree in Visual Arts, Institute of Arts, Federal University of Rio Grande do Sul, UFRGS, Brazil
– “Antes, e ainda agora”, Espaço Cultural ESPM, Porto Alegre, Brazil
– “Ensaio sobre uma ordem das coisas”, Goethe-Institut Porto Alegre, Brazil
– “Reflexo Distante”, Galeria Bolsa de Arte, Porto Alegre, Brazil
– “O ar entre as coisas”, A Sala (IAD), Pelotas, Brazil
– “Planisfério”, Zip’up, at Zipper Gallery, São Paulo, Brazil
– “Color Photo – Próximo daqui”, Galeria Bolsa de Arte, Porto Alegre, Brazil
– “Mundos Paralelos”, Galeria Bolsa de Arte, Porto Alegre, Brazil
– “Biblioteca”, CCSP – São Paulo Cultural Center, São Paulo, Brazil
– “Espaçamento”, MAC – Sala Theodoro de Bona, Curitiba, Brazil
– “Palavra Perdida”, Galeria Virgilio, São Paulo, Brazil.
– “Mundo”, Cultural Institute Brazil-Spain, Porto Alegre, Brazil
– “Coletas Caligráficas”, Cultural Institute Brazil-Spain, Porto Alegre, Brazil
– “O Gráfico das Letras”, Goethe-Institut Porto Alegre, Brazil
– “Aprendendo com Miguel Bakun: Subtropical”, Instituto Tomie Ohtake, São Paulo, Brazil
– “Minor Cosmopolitan”, Haus der Kulturen der Welt, Berlin, Germany
– “Loop Barcelona/ Discover Award”, Antigua Fábrica Damm, Barcelona, Spain
– “Aterro”, (projeto coletivo com Daniel Galera e Romy Pocztaruk) Pinacoteca Ruben Berta, Porto Alegre, Brazil
– “RSXXI Rio Grande do Sul Experimental”, Santander Cultural, Porto Alegre, Brazil
– “Torus- sete lados de uma paisagem”, Galeria Mamute, Porto Alegre, Brazil
– “La imagen arde / Festival Byte Footage”, Centro Cultural Kirchner, Buenos Aires, Argentina
– “ARTE E CIÊNCIA: Nós entre os extremos”, Instituto Tomie Ohtake, São Paulo, Brazil
– “Filmes e Videos de Artistas – Itaú Cultural e Fundação Iberê Camargo”, Fundação Iberê Camargo, Porto Alegre, Brazil
– “FINISTERRE”, Kultureland, Oporto, Portugal
– “Proyector 15”, 8th International Videoart Festival, Madrid, Spain
– “IVAHM”, Festival Internacional de Videoarte de Madrid (New Media Festival), Centro Neomudéjar, Madrid, Spain
– “Cidade Gráfica”, Itaú Cultural, São Paulo, Brazil
– 10 Years of the Acqusition Prize, Sala Tarsila do Amaral / Centro Cultural São Paulo, Brazil
– “O Desenho como Instrumento”, SESC Pompéia, São Paulo, Brazil
– “FUSSBALL WELTWEIT”, Lichthof des Auswärtigen Amts, Berlin, Germany
– “A Inevção do Horizonte”, Galeria Bolsa de Arte, São Paulo, Brazil
– “Ao Sul, Paisagem”, Galeria Bolsa de Arte, Porto Alegre, Brazil
– “Campo Magnético”, Fundação ECARTA, Porto Alegre, Brazil
– “O Jogo só Acaba Quando Termina”, Museu Nacional (Brasília) + Palacete das Artes (Salvador) + Anexo Zabala (Montevideo) + MUNTREF -(Buenos Aires) + SESC Quitandinha (Rio de Janeiro)
– “Walking”, Paço das Artes, São Paulo, Brazil
– “Mar de Tubarão”, Galeria Jaqueline Martins , São Paulo, Brazil
– “FILE Hipersonica”, SESI São Paulo, Brazil
– “ACIREMA”, Honor Fraser Gallery, Los Angeles, USA
– “O Triunfo do Contemporâneo”, 20 years of MAC, Santander Cultural, Porto Alegre, Brazil
– “Os 10 Primeiros Anos”, Instituto Tomie Othake, São Paulo, Brazil
– 8. Bienal do Mercosul (8. Mercosur Biennial), MARGS, Porto Alegre, Brazil
– “Território de Caça”, Zipper Gallery, São Paulo, Brazil
– Sehnsucht, AABER Artspace, Munich, Germany
– “Moving Image”, ADBK, Munich, Germany
– “Lugares/Representações”, FUNARTE, São Paulo, Brazil
– “Percursos Simulados”, Paço das Artes , São Paulo, Brazil
– “Simulated Pathways”, Skalitzer 140, Berlin, Germany
– “The South Project”, The West Space, Melbourne, Australia
– “Dois Pontos”, Museu Murillo la Greca, Recife, Brazil
– “Incompletudes”, Galeria Virgilio, São Paulo, Brazil
– “Convivência Espacial”, Fundação ECARTA, Porto Alegre + Museu Murillo la Greca, Recife, Brazil
– 7. Bienal do Mercosul (7th Mercosur Biennial), Porto Alegre, Brazil
– “FILE Rio”, SESI, São Paulo, Brazil
– “Lilliput”, Walsh Gallery, South Orange, USA
– “15. Salão da Bahia”, MAM-BA – Museum of Modern Art, Salvador, Brazil
– “FILE”, SESI, São Paulo, Brazil
– Açorianos Award for Visual Artist (Category: Highlighted Artist in 2013), Secretaria de Cultura de Porto Alegre / Bureau of culture and arts of Porto Alegre City (Brazil)
– Açorianos Award for Visual Artist (Category: Photography), Secretaria de Cultura de Porto Alegre / Bureau of culture and arts of Porto Alegre City (Brazil)
– Fellowship FUNARTE (Bolsa Estímulo à produção em Artes Visuais), support to visual arts production
– Bolsa Iberê Camargo, Iberê Camargo Grant for visual artist: Residency at Gasworks, London (Brazil | UK)
– Prize ‘Brasil Arte Contemporânea’ – Fundação Bienal de São Paulo and Ministério da Cultura (Brazil)
– Prize FUNARTE de Arte Contemporânea – FUNARTE – National Foundation for Arts (Brazil)
– Açorianos Award for Visual Artist (Prêmio Açorianos Incentivo à produção plástica) – Secretaria de Cultura de Porto Alegre / —-Bureau of culture and arts of Porto Alegre City (Brazil)
– São Paulo Cultural Center Acquisition Prize (Prêmio Aquisição do CCSP) – Centro Cultural São Paulo, São Paulo (Brazil)
– DAAD fellowship at ADBK, München / Berlin (DAAD re-invitation program), Germany
– Residency at Gasworks, London (Iberê Camargo Foundation Grant), UK
– DAAD Scholarship for Visual Artist – Akademie der Bildenden Künste München, Germany
– “Como se faz um deserto”, Marina Camargo, 2013
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