September 26 – December 20
Introducing rupture as a formal device, Carolina Fusilier’s Corrientes Mercuriales [mercurial currents] (2023) pieces together fragments of a familial narrative. The Río de la Plata, an estuary in Buenos Aires that empties into the Atlantic Ocean, makes multiple appearances in the film, as do whizzing, beeping, and gurgling machines, connecting humans with technology through real and imagined histories. To achieve this, the artist combines personal, archival, and para-fictional narratives to trace familial connections to a volatile stock market performance in Argentina in August 1996. By tracing a newspaper photograph of her father taken on the stock market floor in Buenos Aires, Carolina resurrects this moment through research into archives and interviews with her parents as they attempt to reconstruct a memory perhaps voluntarily lost to history. Using ellipses and abrupt cuts, the artist disrupts the sonic temporalities of the film, introducing an illegibility through sped up, slowed down, and layered sound. The shifting temporalities present in Corrientes Mercuriales obfuscate a clear understanding of linear time—a technique inherent to many of the artworks included in TBA 2026, which incorporate interrogations, reinterpretations, speculations, and refusals of the archive.
Co-presented by the Toronto Biennial of Art and the Art Museum at the University of Toronto and made possible with the generous support of the Women Leading Initiative.
Bio
Bio
Carolina Fusilier
Carolina Fusilier (b. 1985, Buenos Aires; lives and works in Mexico) is a multidisciplinary artist whose practice explores the materiality of technology, non-linear temporalities, and post-human imaginaries at the intersection of organic and mechanical bodies, as well as industrial and domestic environments. Her work unfolds across moving image, film, painting, sound, performance, and site-specific installations.
She has received major international support, including the Pollock-Krasner Foundation Grant (2019), the Raúl Urtasun–Frances Harley Grant at The Banff Centre (2015), and production and research support from institutions such as ACC Cinema Fund and Hot Docs + Netflix. Her work in moving image and film has been presented at major international festivals and institutions including MoMA’s Doc Fortnight, IDFA, Yamagata International Documentary Film Festival, Dok Leipzig, DMZ Docs, and True/False Film Festival. Her short film Corrientes Mercuriales (2023) premiered at the New York Film Festival and received a Special Mention for Best Argentine Short Film at the Mar del Plata International Film Festival
Her recent solo exhibitions include IMAGO (Margot Samel, New York, 2025), Isla Eléctrica (PEANA, Mexico City, 2024), Corrientes Mercuriales (Museo Jumex, Mexico City, 2023), Clepsidra (Daniela Elbahara Gallery, Mexico City, 2021), Kitchen With a View (Locust Projects, Miami, 2019), and Angel Engines (Natalia Hug Gallery, Cologne, 2018). Her work has also been shown in group exhibitions and site-specific projects at Museo Tamayo, Museo Anahuacalli, MALBA Puertos, Museo de Arte Moderno de Buenos Aires, SculptureCenter, The Drawing Center, Mendes Wood DM, and Casa O’Gorman Nancarrow
Together with filmmaker Miko Revereza, she forms the collaborative duo Arquitectura Parlante, through which they develop long-term artistic and pedagogical projects that combine film, sound, and architecture. As part of this collaboration, they co-manage Cinema Antena, a micro-community cinema and educational space in San Agustín Etla, Oaxaca, recently supported by Patronato de Arte Contemporáneo. Alongside her artistic practice, Fusilier is actively engaged in teaching, lectures, and public programs focused on experimental cinema, sound, and critical approaches to technology and space.
She graduated from Universidad del Cine and has pursued further studies at the Kunstakademie Düsseldorf, SOMA, and Universidad Torcuato Di Tella.
Image courtesy of the artist.
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