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Paloma Bosquê Matéria

Texts by Catalina Lozano, Paloma Bosquê and Fernanda Brenner
Design by Studio Temp

Softcover, 200 pages, 17 x 23.5 cm
ISBN 979-12-80579-18-8

This first monograph dedicated to Paloma Bosquê addresses the Brazilian artist’s frustration with the visual as key to understanding of what lies beyond language, of that matter that can be perceived, but not rationalized.

Paloma Bosquê’s work unfolds from an investigation of the materiality as a way to question the dominance of the visual in the apprehension and definition of reality. By challenging the Western definitions of animate and the inanimate, her sculptures and installations take materiality a channel to access a dimension beyond language or where things cannot yet be named. By assembling a myriad of materials, Bosquê presents bodies not as isolated entities but as permeable and moving matter, continuously transforming each other, establishing and revoking connections within and beyond the realm of the visible. Over the past few years, her sculptural practice has been accompanied by a textual production presented for the first time in this publication, together with an extensive overview of works spanning the last decade, an essay by Catalina Lozano, and a conversation with Fernanda Brenner. “In between senses and matter,” writes the artist, “lies a tension which holds things together. Within this gap I build a shelter.”

The artist

Paloma Bosquê (Garça, 1982) lives and works between São Paulo and Basel. Her most recent solo exhibitions include noite não noite sim, Mendes Wood DM, São Paulo (2020), Dark Matter, Blum and Poe, Tokyo (2020); In the Hot Sun of a Christmas Day, Mendes Wood DM, New York (2019); Inventory, Mendes Wood DM, Brussels (2018); O Oco e a Emenda, Pavilhão Branco, Museu da Cidade, Lisbon (2017); Field, Mendes Wood DM, São Paulo (2016); O Incômodo, Pivô, São Paulo (2015). Additionally, her work has been included in institutional group exhibitions as A Natural History of Ruins, Pivô, São Paulo (2021); Brasile. Il Coltello Nella Carne, Pac - Padiglione d’Arte Contemporanea, Milan (2018); Bienal de Coimbra, Coimbra (2017); Mycorial Theatre, Pivô, São Paulo (2016); Projeto Piauí, Pivô, São Paulo (2016); Roberto Burle Marx: Brazilian Modernist, The Jewish Museum, New York (2016); United States of Latin America, Museum of Contemporary Art Detroit, Detroit (2015).

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