Carolina Fusilier

Imago Station

April 28 - June 6, 2026

Súbitamente (Imago Station) diptych, 2025

Oil on hexagonal canvas, metal and speaker

90.55 × 157.48 × 1.96 inches

230 x 400 x 5 cm

P.O.R

War Song I, 2025

Oil on hexagonal canvas, stainless steel frame

31.50 × 19.68 inches

80 x 50 cm

P.O.R.

War Song II, 2025

Oil on hexagonal canvas, stainless steel frame

31.50 × 19.68 inches

80 x 50 cm

P.O.R.

In Carolina Fusilier’s latest body of work, Imago Station, Fusilier invites viewers to imagine her paintings as props from an unmade film, blending her painting practice with her instincts for video storytelling.

The work's science fiction ambiance draws inspiration from Jindřich Polák’s 1963 film Ikaria XB-1, a precursor to Stanley Kubrick’s 2001: A Space Odyssey. The narrative follows a ship's crew who discover a frozen 20th-century spacecraft that was inhabited by the wealthy, whose lives ended due to an onboard nuclear weapon. This serves as a cinematic memento mori, a theme personal to Fusilier following her father's passing.

The title Imago references both psychological development and the final stage of insect metamorphosis. This transition between earth and air is mirrored in her work. The large diptych Súbitamente is shaped like a butterfly to evoke a ship’s command panel. Through these poetic and post-human landscapes Fusilier explores themes of transition and lost civilizations.

Carolina Fusilier was born in Buenos Aires, Argentina and lives and works in Oaxaca, Mexico. She is a multidisciplinary artist who explores the physicality of technology, notions of non-linear time and post-human imaginaries at the intersections between organic and mechanical bodies and industrial and domestic settings. Her work takes various forms through moving image, painting, sound and site-specific projects.

Fusilier studied at the Universidad del Cine in Buenos Aires and completed postgraduate programs at Universidad Torcuato Di Tella (2011), SOMA in Mexico City (2016), and was a guest student at the Düsseldorf Academy under Rita McBride in 2018. Recent solo and two person exhibitions include ¿Cómo se escribe muerte al sur?, Museo Anahuacalli, Mexico City, Mexico (2025); Margot Samel, New York (2025); Isla Eléctrica, PEANA, Mexico City, Mexico (2024); Nuit Blanche, Toronto, Canada (2024); Espejo-Espectro, MALBA, Buenos Aires, Argentina (2024); Corrientes Mercuriales, Museo Jumex, Mexico City, Mexico (2023); Clepsidra, Daniela Elbahara Gallery, Mexico City, Mexico (2021); Kitchen with a View, Locust Projects, Miami, FL (2019); and Angel Engines, Natalia Hug, Cologne, Germany (2018). Selected group exhibitions include Otr’s Mund’s, curated by Aram Moshayedi and Lena Solá Nogué, Museo Tamayo, Mexico City, Mexico (2025);Yendo de la cama al living, curated by Enrique Giner, Salón ACME, Mexico City, Mexico (2025); Breaking up of ice on a river, curated by Lilian Hiob, Casa Ideal, Proyectos Multipropósito, Mexico City, Mexico (2024) and Linhas Tortas, Mendes Wood, São Paulo, Brazil (2023).

She is a 2019 recipient of the Pollock-Krasner Foundation Grant and her first feature film El Lado Quieto (2021), was selected by ACC Cinema Fund, Asia Culture Center, South Korea. Her latest short film Corrientes Mercuriales (2023) premiered that same year at the New York Film Festival, and received a special mention for Best Argentine Short Film at the Mar del Plata International Film Festival, 2023. She is currently working on Sorry For the Late Reply, her second feature as co-director, supported by ACF-BIFF (ACF - Busan International Film Festival, South Korea) and SGIFF SEA-DOC Grant Selection (Singapore International Film Festival). Together with filmmaker Miko Revereza, she forms the collaborative duo Arquitectura Parlante, where they lead film workshops, produce their own films, and are self-managing the beginnings of Cinema Antena, a micro-community cinema space for screenings and workshops in San Agustín Etla, Oaxaca.