SOLO exhibition with :


Caroline Mesquita


September 4th - November 6th, 2016
Opening reception September 4th, 3 to 6PM


Kunstverein Langenhagen
Langenhagen / Hannover


For her first solo show in a German institution French artist Caroline Mesquita (b.1989) transformed the Kunstverein Langenhagen into an immersive environment. In previous works she has used folded metal tubes that prevent viewers from entering it whereas this time the installation invites visitors to navigate the exhibition space along a metal construction of tubes and plates where brass human size sculptures are displayed and meet in front a video projection. In this video work titled “pink everywhere” –as the exhibition’s title-, the artist interacts with sculptures similar to the ones in the exhibition space, male and female, sometimes painted, sometimes oxidized, in a succession of scenes oscillating between tenderness, role play, sexual envy, astonishment, and violence.
If her earlier video works recalled the allegory of Pygmalion falling in love with his sculpture Galatea, it seems that this time in a reversal of roles, many Galateas are playing with the multiple identities an artist can have.

The exhibition by Caroline Mesquita originates in a proposal by Valerie Chartrain, co-founder and co-editor in chief of Petunia, a feminist art and entertainment journal, organised around subjective emergencies, non exhaustively presenting multiple facets on a topic, and multiple forms from theoretical texts to diary entries, to pure fiction or comics by critics, curators and artists.
The extension of the invitation of Pétunia und Caroline Mesquita pursues the ongoing cooperation with French artists and curators established by the Kunstverein Langenhagen during the last 8 years. Following the curatorial program 2016 this exhibition questions forms of collaborative practices in contemporary art.

Exhibition views



Momentum It maybe the time to live our corporality rather than speak our sexuality


Group exhibition with :


Marie Angeletti

Kjersti G. Andvig & Carton A. Turner

Sylvie Blocher

Marina Faust

Pilvi Takala

Tobias Kaspar

Caroline Mesquita

Tania Perez Cordova

Hannah Weinberger


January 18th - March 1st, 2014
Opening reception January 17th, 6 to 9PM


Galerie PSM 
Köpenicker Strasse 126
10179 Berlin
phone: +49 30 755 24 626


Exhibition views

Images above, courtesy PSM, the artists and their wonderful galleries, Reding Nosbaum, Proyecto Monclova, Freedman Fitzpatrick, Carlos/Ishigawa


„Maybe it is time we live our corporality rather than speak our sexuality.“ This sentence appeared in the 1973 issue of Recherches, entitled Three Billions of Perverts. The Great Encyclopedia of Homosexuality, which was seized for affronting public decency. Guy Hocquenghem, the author of one of the included essays, warned the reader that it was “exclusively addressed to the ones with whom he couldn’t make love. For everyone else, the festivity of bodies transforms speech into a servant of the body, nothing else”. In it, Hocquenghem, a member of the Front homosexuel d’action révolutionnaire exposed the contradictions inherent to this group, his virulent critique of sexual institutions and assignations, his hopes to see the revolution impulse extend to all areas of life.



“Festivity of bodies”, outrage to “public decency”, rejection of existing structures, and a provocatively direct address to the audience: the elements of this story are symptomatic of a moment when things could unleash and culminate, when individuals would converge in order to create a completely new situation: a revolution, even a small one. This convergence – not to be confused with a consensus – can also be called a Momentum.


What about a second-hand momentum, making use of words and sentences from a past momentum? What about a momentum with inner conflicts and contradictions much deeper than the ones of the 70s era? What if this violent absence of consensus was to make for a perfect momentum? What about a momentum aggregating a community of oblique positions and gazes, a group of individuals all looking aside in directions so different it might map an erratic ideological landscape? What if this landscape would nevertheless, by some kind of chance, enable a new situation?



What if the artists and the works in this show were in a state of expectancy, aspiring for a momentum that might never be? Could a small feminist publication make them believe it will ultimately happen and ask them to hold their breath until it does?



Waiting for someone to get into contact (Tania Perez Cordova), knitting and counting the dead (Kjersti G. Andvig), shopping (Pilvi Takala), taking care of one’s skin (Tobias Kaspar), singing seemingly utopian political speeches (Sylvie Blocher), producing music or sound in order to get the audience’s attention (Caroline Mesquita, Hannah Weinberger, Marie Angeletti) or simply staring at it (Marina Faust) : the works in the show are literal in their conception and their formal aspects. They straight-forwardly question the limits of our bodies, whether intimate, social, or political. Charged with passive aggressiveness the works invoke a specific Momentum – past, imaginary, or to come. They don’t want to depend on subtext in order to be understood: Indeed they are mute, even when they sing.






Group exhibition with :


Fabienne Audéoud,

Natalie Czech,

Olivia Dunbar,

Sophie Erlund,

Vidya Gastaldon,

Isa Genzken,

Isabella Girtanner,

Roni Horn,

Natalia Ibáñez Lario,


Sherrie Levine,

Yoan Mudry,

Mai-Thu Perret,

Beatriz Preciado,

Carissa Rodriguez,

Kay Rosen,

Anne-Laure Sacriste,

Cosima Von Bonin,

Emily Wardill,

Martina-Sofie Wildberger.



26th May - August 28th, 2013

Opening reception 25 May 2013, 6 to 9PM

Fri Art
Centre d'art de Fribourg / Kunsthalle Freiburg
Petites-Rames 22
CH-1700 Fribourg
T +41 (0)26 323 23 51

Petunia 5 at Kunsthalle Fribourg!
Petunia 5 at Kunsthalle Fribourg!

During the exhibition, launch of issue # 5 !!!


Exhibition Views


Pro-Choice stems from the biography of Mary Shelley, one of the most prominent inventors of modern science fiction. Her political activism, insights on sexual freedom, radical unsettlement and continuous support of her partners' and friends' literary work have provided grounds for imagining and exploring the processes of emancipation and choice at play within artistic practice.
And Frankenstein, creator of an individual generated outside the parameters of human reproduction, of a being everything but "natural" or "biologically correct": a product from the mixture of dead flesh and marginal science... well, Frankenstein is the perfect figure to think about production, reproduction, construction and... why not? destruction. Recent readings of the Gothic novel have connected the dark origins of the monster with Shelley's traumatic loss of a number of her children and relatives. It is precisely these reactionary parallels between artistic production and biological reproduction, care and maternity imperatives: in simpler terms, parallels between the artist and the matrix—or the mother—that Pro-Choice seeks to challenge and distort.
Explicitly referring to the pro-abortion movement and to the very idea of choice, Pro-Choice is a statement, or a mantra. It wishes to absorb and reflect the myriad of strategies artists can choose to make and create work from, to show how these choices generate meaning and how artists are bound to these meanings. From the refusal to produce at all to the reproduction, the theft, the copy, the invention of alter egos, the use of ventriloquism or the affirmation of the self at the core of the production process...This array of possibilities demonstrates a very special kind of freedom that echoes the radical re-framings of sexual polarities by queer politics, the mutations and delocalization of our private structures towards more opened, public and unknown models. Rooted within the contexts of techno-science, medically assisted procreation, new negotiations of the concept of family, Pro-Choice aims to navigate dangerously between the tropes of essentialism and constructivism which, still today, divide feminism.


Pro-Choice prend comme point de départ la biographie fascinante de Mary Shelley, inventrice de la science-fiction moderne. Son activisme politique, ses vues sur la liberté sexuelle, son insoumission à la morale bourgeoise et conservatrice de son époque, son soutien sans faille à l'ambition littéraire de ses proches et sa proximité avec de nombreux écrivains, ont été des outils cruciaux pour penser les processus d'émancipation et la liberté de choix à l'œuvre dans les pratiques artistiques contemporaines.

Quant à Frankenstein, créateur d'un individu généré en dehors des paramètres de la reproduction biologique, d'un être tout sauf « naturel » ou « biologiquement correct » : un être résultant d'un alliage de chair morte et de science déviante... Frankenstein est vraiment la figure idéale pour penser les questions de la production, de la reproduction, de la construction et (pourquoi pas ?) de la destruction. Certaines interprétations récentes du roman gothique ont établi un lien entre les deuils de Shelley, qui perdit tragiquement plusieurs de ses enfants et de nombreux membres de sa famille, et les origines obscures du monstre. Ce sont précisément ces parallèles réactionnaires entre production artistique et reproduction biologique, création et impératif maternel, en d'autres termes, les parallèles entre l'artiste et la matrice – la mère –, que Pro-Choice cherche à dépasser et à malmener.

En faisant explicitement référence au mouvement pro-avortement, et à la notion même de choix, Pro-Choice se veut un véritable statement, un mantra. Pro-Choice veut absorber et refléter la myriade de stratégies parmi lesquelles les artistes peuvent choisir afin de produire ou de penser leur œuvre. Car ces choix génèrent du sens, et les artistes sont irrémédiablement liés et engagés par ces choix. Le refus de produire, la reproduction, le vol, la copie, l'invention d'alter egos ou l'utilisation de ventriloques, l'affirmation de la subjectivité comme dispositif central du processus de production, toutes ces possibilités témoignent d'une liberté très spécifique. Une liberté qui fait écho aux recadrages radicaux de la sexualité opérés par les politiques queer, aux mutations et à la délocalisation de nos structures privées vers des modèles plus ouverts, plus publics, moins maîtrisés et contrôlés.

Imprégnée par les idées de la techno-science, par la procréation médicalement assistée, par les re-négociations du concept même de famille, Pro-Choice veut louvoyer dangereusement entre l'essentialisme et le constructivisme, qui encore aujourd'hui, divise le mouvement féministe.