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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.
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.
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. [1]
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.
CRAM, Festival Rio Loco, Toulouse, France.
MATER-ia, Galería Llucià Homs, Barcelona, Spain.
Innée (curated by Mathew Shaul) Margaret Harvey Gallery, St. Albans, England.
Innata/Innée, Centre Culturel du Mexique, París, France.
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.
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
Prints, Cherry Creek Art Festival, Centro Cultural Mexicano, Denver, Colorado, USA.
Velo re velo, Galería Railowsky, Valencia, Spain.
Velo re velo, Instituto de México, Madrid, Spain.
Velo-re-velo, Galería Senda, Barcelona, Spain.
Revelar, Galería Kin, México City, Mexico.
Soy, Museo de Historia, Saint Petersburg, Rusia.
MA Degree Show, Winchester School of Art, Winchester, United Kingdom.
Un secreto preexistente, Centro Cultural El Nigromante, Instituto Nacional de Bellas Artes San Miguel de Allende, México.
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