“Hinge”

For more than three decades, Marcia Pastore (1964, São Paulo, Brazil) has developed a practice based on the investigation of the plastic possibilities of materials. To this end, she invests in plurality, employing pre-fabricated structures manufactured as pulleys, clamps, plumb lines, from formless materials, such as plaster, pitch and paraffin, as well as metals molded in casting processes. The interaction between the properties of these elements results in spatial operations that simultaneously occupy and reformulate it based on the agency of three-dimensional languages of sculpture, installation and architecture.

Molding stands out as the main operation in Marcia Pastore's vocabulary, serving both as a productive strategy and as a metaphor that describes the action of her work on the public, inviting them to a kind of dance with the structures that occupy space. The body, in turn, is central to her practice, either by the indexical dimension of the gestures that organize the material, by the pieces molded on her own skin, or by the anthropometric scale of the works. The procedural character of her experiments is also expressed in the photographs and videos created as records of her actions in the studio, without losing their poetic power.

Marcia Pastore has held solo exhibitions since 1990, when she opened exhibition at the Museum of Contemporary Art of the University of São Paulo (MAC USP), in São Paulo, Brazil. Among the artist's exhibitions, the solo exhibitions stand out Counterbody, at the Pinacoteca of São Paulo, in São Paulo, Brazil (2019); Dobros, at Banco do Brasil Cultural Center (CCBB-RJ), in Rio de Janeiro, Brazil (2010); Body of proof, at the Brazilian Museum of Sculpture and Ecology (MuBE), in São Paulo, Brazil (2017); and Exposed structure, at the Ema Klabin Foundation, in São Paulo, Brazil (2021).

Participation in group exhibitions includes: Em branco, at the Figueiredo Institute Ferraz, in Ribeirão Preto, Brazil (2021); Eight decades of informal abstraction 1940/2010, at the Roberto Marinho House, in Rio de Janeiro, Brazil (2018) and at the Museum of Modern Art (MAM-SP); Contemporary art in the Municipal collection, in the Center Cultural São Paulo (CCSP), in São Paulo, Brazil (2004); The Spirit of Our Period – Dulce and João Carlos de Figueiredo Ferraz collection, at the Museum of Art Moderna (MAM-SP), in São Paulo, and at the Museum of Modern Art (MAM Rio), in Rio de Janeiro, Brazil (2001); 5 artists from São Paulo, at the Palace of Arts, in Belo Horizonte Horizonte, Brazil (1989).

Her works are part of the collections of the Pinacoteca de São Paulo, in Sao Paulo, Brazil; from the Museum of Modern Art (MAM-SP), Sao Paulo, Brazil; the Marcos Amaro Foundation (FAMA Campo), Mairinque, Brazil; and the Museum of Contemporary Art at the University of São Paulo (MAC USP), São Paulo, Brazil; among others.