Draft:Carmen Mariscal

Carmen Mariscal was born in 1968 in Palo Alto, California, USA, into a family of Catalan and Mexican origin. She moved to Mexico when she was just a child with her family, where she grew up and began to paint. From a young age, she received a traditional Catholic heritage mixed with a liberal upbringing, which helped shape the feminism that would later take hold in her visual work.

At the age of 18, she moved temporarily to France to study French at the Sorbonne. Later, in 1991, when she was 22 and studying Art History at the Universidad Iberoamericana in Mexico City, she was involved in a car accident that fractured her spine. This event, together with the recovery period that kept her in bed for several months, is constantly reflected in her work.

In 1994, after finishing her studies as a visual artist in Europe, she returned to Mexico where she worked as an artist and teacher in the Art Department of the Universidad Iberoamericana. During that time, she also worked in a hospital helping young people with eating disorders.

From 1999 to 2020 she lived in Paris, France, where she worked as a visual artist and art teacher at Trinity College Paris.

She currently lives in London, where she is doing her PhD at the Royal College of Art and continues her artistic practice by exhibiting internationally.

Obra
Carmen Mariscal says that she began painting as a child. That, in doing so, "... she felt that she existed. Her pictorial trace was true proof of her physical presence. If I didn't paint or draw, I felt like I was flying." Since then, her work has been deeply introspective. After recovering from a car accident at the age of 22, he began to paint themes related to pain, emotions and confinement, and since then he has constantly reflected on the wear and tear of the human body and its ability to break down and heal itself, the fragility of emotions, and physical and psychological isolation. Throughout his career, in series such as "Transposicions", "Muros / Roma", "Doble", "Dentro" and "MATER-ia", he has worked on the concept of the passage of time, through the juxtaposition of images that simulate fragments of the body cracking and peeling away like the wall of the walls of an old house. Many of these images are photographs of her own body, whose fragmentation, likewise, is symptomatic of the physical and emotional suffering the artist has gone through, as well as the fragmentation of her personality influenced by the traditional Catholic, liberal and feminist upbringing she received as a child. After the accident, he began to photograph parts of his own body to include in his sculptures and installations, mainly in wooden and metal boxes through which he has explored themes such as hospital and confinement. These objects have become a key element and starting point in his work. In them, he usually presents a mirror accompanied by everyday objects and translucent photographs, reminiscent of X-rays, which refer to the periods he spent in hospital, both convalescing and working. According to her testimony, she began to work with mirrors "... because she wanted the spectator to also look at her own body and become part of the pieces. For [her] the physical presence of the viewer is what ends the work. "1 Many of the materials she began to work with during this period - metal, glass, mirror - are visually cold, industrial and traditionally associated with the masculine, something Carmen questions. Carmen's work, however, has an affective character, in that it refers to the private, to the intimate, to her experiences as a woman and as a mother; to fragility and feelings. The boxes, Christine Frérot comments, seem like "altars or reliquaries where the enigmas of the feminine are kept and offered. In the series "The Beautiful Place" she recovers old objects that traditionally refer to the feminine, such as embroidery, childcare, the domestic environment and fear. Likewise, through autobiographical references and inherited belongings, Mariscal relives the history of her family while questioning the role of women in today's society. The series entitled "La Novia puesta en abismo", for example, comprises, among various pieces, a group of self-portraits in which Carmen used her great-grandmother's wedding dress to question "the traditions passed down from generation to generation, and the meaning of being mother, daughter and wife." Self-portraiture has played an important role in her work, both to explore her body and evidence her experience as a woman, as a mother and as an artist and to reflect on female identity and question the objectification of the female body and the stereotypes that surround it such as purity, virginity and sexual repression. "Celosía filigrana", in this sense, plays with the idea of veiling and revealing the female face and body through light and shadow. The photographs in this series show only fragments of the artist's body: the torso, bust and face hidden by hands, arms or the shadows of a projection reminiscent of filigree, giving the images a feminine and seductive character. The series "Umbilicus" and "MATER-ia", on the other hand, were made during the process in which the artist became a mother. In them, she uses self-portraiture and the visual fragmentation of her body and that of her children to highlight the "physical and psychological transformations that women go through from pregnancy to the postpartum period. In Mariscal's work, representations of the human body - generally her own - have evolved over time: at first she photographed only fragments of it, but over time she has included it in its entirety in larger and larger formats. In his most recent works ("La esposa esposada", "Calladita te ves más bonita", "Nuestro hogar"), Mariscal questions the place reserved for women in society. Collaborating with various associations, she examines issues of gender, identity, the weight of traditions and social norms imposed on women and girls from an early age. In particular, it explores "the female condition in marriage", in the words of curator Christine Frérot, as well as the symbols and expressions associated with love, which continue to feed a collective imaginary of oppression and gender inequality. By linking the intimate with the collective, Carmen's works "invite the public to reflect on the paradox of love".5 Thus, the work "Our Home", a monumental installation animated with light and sound, was exhibited on the Palais-Royal square in Paris in spring 2020. Made from padlocks that couples placed on Parisian bridges, "Our Home" aims to raise awareness for the safety of women and families and the defence of human rights - in particular for victims of domestic violence. To this end, "Nuestro Hogar" raised funds to support two women's shelters in Mexico and France.

In addition to her production as a visual artist, she has created the scenography for plays with feminist content such as A room of one's own, based on the essay by Virgina Woolf, Electre se réveille (Electra awakens), La Folle Enchère (An unusual auction) by the 17th century playwright Madame Ulrich, or more recently Mary Sidney, aka Shakespeare, all of which question the subjugated status of women in patriarchal societies throughout history.

Education

 * - PhD Candidate, Royal College of Art, London, United Kingdom 2025
 * - Master's Degree in Fine Art, Winchester School of Art, Barcelona, Spain and Winchester, England. 1994
 * - Graduate Diploma Programme Advanced Painting, Central Saint Martins College of Art and Design, London, United Kingdom. 1992
 * - Bachelor’s Degree in Art History, Universidad Iberoamericana, Mexico City, Mexico.

Solo (and *two-person) exhibitions
2024

Tláloc/Contadero The Window, Paris, France.

2023

Tláloc/Contadero Festival Loop, Ana Mas Projects, Barcelona, Spain.

2022

''Notes on a Journey. On Extractivism, Matter and Displacement.'' Two-person exhibition. Exhibition by Marisa Ferreira and guest artist:Carmen Mariscal, Galeria Presença, Porto, Portugal

Erase (Curated by Karen Cordero) Two-person exhibition, Claustro de Sor Juana, Mexico City, Mexico.

2021

The Cemetery of Love Frédérick Mouraux Gallery, Brussels, Belgium.

2020

Chez Nous, (Curated by Periferia Projects) Public Sculpture, Place du Palais Royal, Paris, France.

Le cimetière de l’amour  l’amour video installation, Beffroi de la Mairie du 1er, Place du Louvre, Paris, France.

2019

Calladita te ves más bonita (Curated by Marcela Correa) Mexican Cultural Institute, New Orleans, USA.

La esposa esposada & Feuilles de Guerre Ana Mas Projects, Art Paris, Feria de Arte, Galería Ana Mas Projects, París, France.

2018

La esposa esposada (curated by Christine Frérot), Maison de l’Amérique Latine, Paris, France.

Jusqu’à la fin des temps (Two-person exhibition) Centre Culturel du Mexique, París, Francia.

Traces/Rastros, L’Arc, Scène Nationale, Le Creusot, France. Two Way Mirror Fundación Vila Casas, (, (curated by Gloria Bosch) Fundación Vila Casas, Palau Solterra, Torroella de Montgrí, Spain. Vamos a pretender, masART Galería, Barcelona, Spain. Transposicions, Museo Gene Byron, 37th Festival Cervantino, Guanajuato, México. Transpositions, Centre d´Etudes Catalanes, Université de Paris Sorbonne, París, France. Doble/desdoble, Galería Llucià Homs, Barcelona, Spain. Proyecto Espai Zero, (curated by Raquel Medina), Fundación La Caixa, Tarragona, Spain.
 * 2015
 * 2010
 * 2008
 * 2007
 * 2006
 * 2004

CRAM, Festival Rio Loco, Toulouse, France. MATER-ia, Galería Llucià Homs, Barcelona, Spain.
 * 2003

Innée (curated by Mathew Shaul) Margaret Harvey Gallery, St. Albans, England. Innata/Innée, Centre Culturel du Mexique, París, France.
 * 2001

Dentro, Galería Llucià Homs, Barcelona, Spain.

Innata, Galería Senda « El Terrat », Barcelona, Spain. El pueblo creador, Pabellón de México, Expo 2000, Hannover, Germany. La ilusión en vértigo, Galería de la SHCP, México D.F., México.
 * 2000
 * 1998

Los espejismos del amor, Galería Segovia-Isaacs, Barcelona, Spain. La novia, puesta en abismo, Galería Ramis Barquet, Monterrey, México. I veil, I reveal, CSK Gallery, Denver, Colorado, USA
 * 1997

Prints, Cherry Creek Art Festival, Centro Cultural Mexicano, Denver, Colorado, USA. Velo re velo, Galería Railowsky, Valencia, Spain.
 * 1996

Velo re velo, Instituto de México, Madrid, Spain.

Velo-re-velo, Galería Senda, Barcelona, Spain. Revelar, Galería Kin, México City, Mexico.
 * 1995
 * 1994

Soy, Museo de Historia, Saint Petersburg, Rusia.

MA Degree Show, Winchester School of Art, Winchester, United Kingdom.
 * 1993

Un secreto preexistente, Centro Cultural El Nigromante, Instituto Nacional de Bellas Artes San Miguel de Allende, México.

Group Enhibitions
2024


 * Las mil y una novias National History Museum, Castillo de Chapultepec, Mexico City, Mexico.


 * Chasma Beaconsfield Gallery, London, UK.

2023


 * (Re) Generando Narrativas e Imaginarios Curated by Karen Cordero), Museo de Arte de Sonora, MUSAS, Sonora, Mexico.


 * Lost and Found a Saloneras Project, La Nana Laboratorio Urbano de Arte Contemporáneo, Mexico City, Mexico.

2022


 * (Re) Generando Narrativas e Imaginarios  (Curated by Karen Cordero), Museo Kaluz, México City, México.


 * ¡Vivas estamos, estamos vivas!  (Curated by Karen Cordero and Cecilia Noriega), Festival Internacional Cervantino, Museo Regional de Guanajuato, Mexico.


 * Inversa,Casa Merida Contemporary, Mexico City, Mexico.

2021
 * Time in Two Directions, jdc Fine Art, Portland, Oregon, USA.

2020


 * Textural Codes (curated by Daniela Galán), The Koppel Project, London, UK.
 * El castillo de las junglas imposibles (curated by Valentina Locatelli and Hans-Michael Herzog), Château de Serrigny, Borgoña, France.

2019


 * Élimination, (curated by Claudia Connoly), París, France.
 * The Box Project, SPARC, Los Angeles, California, USA.
 * GLASS - Photography by artists from Latin America (curated by Lulu-Periferia), Paris, France.
 * Femme Yvonamor Palix Fine Arts, Houston Texas, USA

2018 


 * Je(ux) est un autre, (curated by Julien Verhaeghe), Musée National de la Carte à Jouer, Issy-les-Moulineaux, France.
 * Elèctric i Llunyà, Contemporary Photography from the collection: Olor Visual, Tecla Sala, Barcelona, Spain.

2017          


 * Ponte en mi lugar (curated by Mariano Navarro) Palacio El Condestable Pamplona, Spain.
 * Kaleidoscope (curated by Lassla Esquivel) Periferia Art Projects-IESA, París, Francia.
 * New Perspectives, Reynolds Ryan Art Gallery, New Orleans, Louisiana, USA.

2016
 * Ana Mas Projects, Dallas Art Fair, Dallas, Texas, USA.


 * 2014
 * Under the Wave, Piscina Molitor, París, France.
 * ESTAMPA +R maserre galería, Estampa Feria de Arte Contemporáneo, Madrid, Spain.
 * Quimeras Migrantes Quimeras, Instituto de México, París, France.


 * 2013
 * Geografía de la Mujer, Trazas de Memoria, Fundación Vila Colocaste, Palau Solterra, Torroella de Montgrí, Spain.
 * Enfance & Art, video projections, Imagespassages, Théâtre de l’Echange as part of the exhibition Jeux d’Artistes, Musée Château d’Annecy, France.


 * 2012
 * Galería Raíña Lupa, Paris Photo, París, France.
 * SUM Conflictos de la identidad (curated by Raquel Medina), Ciudadela de Pamplona, Pamplona, Spain.
 * SUM Conflictos de la identidad (curated by Raquel Medina), Saló Amós Salvador, Logroño, Spain.
 * masART Galería, Feria Internacional de Arte Contemporáneo, ARCO, Madrid, Spain.


 * 2011
 * Art Proxime, Traverse vidéo 14ª edición, Toulouse, France. Images Hispano Americaines, Imagespassages Video Festival Annecy, Francia.


 * 2010
 * Afecto diverso/Géneros en flujo, (curated by Karen Cordero), Museo del Chopo México DF, México.
 * Camuflajes, (curated by Maite Méndez-Baigues and Pedro Pizarro) Espai Cultural Caja Madrid, Barcelona, Spain.
 * Camuflajes, (curated by Maite Méndez-Baigues and Pedro Pizarro) Caja Madrid, Zaragoza, España.
 * Camuflajes, (curated by Maite Méndez-Baigues and Pedro Pizarro) MUPAM, Málaga, Spain.


 * 2009
 * Camuflajes, (curated by Maite Méndez-Baigues and Pedro Pizarro) La Casa Encendida, Madrid, Spain.
 * masART Galería, Feria Pinta, Nueva York, USA.
 * Sin centenario ni bicentenario, (curated by Karen Cordero) Universidad Iberoamericana, México DF, México.


 * 2008
 * Galería Llucià Homs, Pulse Art Fair, Miami, USA.
 * masART Galería, Bale Latina Air Fair, Basel, Switzeland.


 * 2007
 * Galería Llucià Homs, ARCO Art Fair, Madrid, Spain.
 * Videoart, una visió actual, Caixa Manlleu, Vic, Spain.
 * Trésors du Mexique Carrefour des Arts, Chapelle Urée, France.


 * 2006
 * Video Festival (collage FemLink) Women's Caucas Art International, Brandeis University, Massachusetts, USA.
 * Festival Traverse-Video (collage FemLink), La Chapelle des Carmélites, Toulouse, France.
 * Galería Llucià Homs, FARCO Art Fair, Madrid, Madrid, Spain.


 * 2005
 * Mutations 2, (curated by Danielle Delouche), Château de Linardié, Senouillac, France.
 * Galería Llucià Homs,ARCO Art Fair, Madrid, Spain.
 * masART Galería, FArt Frankfurt International Art Fair, Frankfurt, Germany.


 * 2004
 * Luxe de Luxe, Avenue K, Modern KContemporary Art Museum, Kuala Lumpur, Malaysia.
 * Big Proportioms, Galou Gallery, Willamsburg, NY, USA.
 * Cinco, Five Latinas (curated by Keith Miller), SAC Gallery, University of Stonybrook, NY, USA.
 * Grapa Contemporary Art, Photo New York, NYC, USA.
 * Galería Llucià Homs, ARCO Art Fair, Madrid, Spain.


 * 2003
 * Great Women/Role Models, The Hague Sculpture, The Hague, The         Netherlands.
 * Galería Senda, FIAC Art Fair, Paris, France.
 * De Corporis Fabrica (curated by Karen Cordero), Centre Culturel du Mexique, Paris, France.
 * Itineraires, Mairie du IXème París, France.


 * 2002
 * Galerie Serieuze Saken II, Bienal Amsterdam Photo, Ámsterdam, The         Netherlands.
 * Alter Ego, (ccurated by Jean-Gabriel Mitterrand), Museé d’Histoire de la Ville de Luxembourg, Luxembourg.
 * Galería Llucià Homs, Art Expo Feria de Arte, Barcelona, Spain.
 * Art i enfermedades mentales, Galería Llucià Homs, Barcelona, Spain.
 * Galería Senda, FIAC Art Fair, Paris, France.


 * 2001
 * Tempus Fugit, Galería Llucià Homs, Barcelona, Spain.


 * 2000
 * Tipografías, Galería Llucià Homs, Barcelona, Spain.
 * Lumiére et Temps, Centre Culturel Mexicain, París, France.


 * 1999
 * IV Bienal de Monterrey, Museo de Monterrey, Monterrey, México.
 * Galería Ramis Barquet, FIAC Art Fair, Paris, France.
 * La mariée, La novia, (curated by Christine Quentin y Céline de Guise) Espace d'Art Yvonamor Palix, México D.F., México.


 * 1998
 * El cuerpo aludido, (curated by Karen Cordero) Museo Nacional de Arte, INBA, México D.F., México.
 * Galería Ramis Barquet, FIAC Art Fair, Paris, France.
 * Galería Ramis Barquet, ARCO, Madrid, España.
 * Galería Senda ARCO, Madrid, España.
 * Colectiva de verano, Galería Ramis Barquet, NY, USA
 * 18.º Concurso Nacional Arte Joven, Aguascalientes, Monterrey y México D.F., México.
 * La búsqueda del Paraíso, Ex-Teresa Arte Actual, México D.F., México y ExColegio de Jesuitas, Pátzcuaro, México.


 * 1997
 * IV Concurso Nacional de Instalación, Ex-Teresa, INBA, CNA, México D.F., México.
 * Galería Senda eARCO Art Fair, Madrid, Spain.
 * Territorios Singulares, fotografía contemporánea mexicana. (curada por Rafael Doctor) Fundación Canal de Isabel II, Madrid, Spain.
 * Bestias y nahuales. Mascotas para un fin de siglo (curada por Guillermo Santamarina) Centro Cultural SHCP, XIII Festival del Centro Histórico, México D.F., México.
 * Modas terminales. Ojales apocalípticos o dobladillos del caos. XIII Festival del Centro Histórico, México D.F., México.


 * 1996
 * L'iber-arte, Instalation, Universidad Iberoamericana, México D.F., México.
 * Colectiva fotoseptiembre, Galería Kin, México D.F., México. Formato pequeño, Galería Kin, México D.F., México.
 * Fornici d'estiu, Galería Alter Ego, Barcelona, Spain.


 * 1995
 * El plano blanco, Galería Kin, México D.F., México.


 * 1994
 * European fine Art degree Show, Winchester Gallery, Winchester, United Kingdom.
 * Tallers oberts, Barcelona, Spain. : Language and location Centro Cultural Caja Madrid, Barcelona, Spain.
 * Miniprint, Exposición Itinerante, Cadaqués, Spain. Itinerant exhibition: Art Festival,  Wingfield, U.K., Art Festival, Joensuu, Finland, Galeria Fort and Ateneu de Canet, Cadaqués, Spain and Galerie de l’Etang, Bages, France.


 * 1989
 * The Image of the Figure, Royal College of Art, London, UK.