There is water sleeping at the bottom of each memory

Jeanine Brito is an artist and designer based in Toronto, who develops her research around the themes of memory, decadence and desire by means of the representation of still lifes and self-portraits. Her paintings recall personal memories, fantasies and fragments of everyday life, which crystalized through the pictorial medium, generate imaginative and surreal settings. Marked by the presence of unusual and unexpected elements – a peach tied up in a bow, a fish in a bouquet of roses, an elegant gloved hand – Brito’s works question the reliability of our memory, pointing out its illusory and fallacious nature. By placing herself inside seductive and enchanting scenarios, the artist engages with self representation, asking herself how much of this corresponds to reality and, on the other hand, how much it is the result of the imaginative process able to twist our perception of ourselves and our memories. In the attempt to store the latter, Brito captures ambiguous and sophisticated details, sweetening them and coating them in refined nostalgia.

Jeanine Brito (Germany, 1993) lives and works in Toronto, Canada, where she received her B.Des in Fashion Communication from Toronto Metropolitan University in 2015. In 2014 she studied at the Amsterdam Fashion Institute, completing a minor in independent fashion magazines. Her work has been exhibited by galleries such as Prior Art Space in Berlin and Eve Leibe Gallery in London, and is collected internationally.

Linda Carrara (Bergamo, 1984) lives and works between Milan and Brussels. Her works consist of pictorial levels that differ in time, light, material and visual logic, which once layered and overlapped, generate apparently coherent and univocal worlds. While at first glance, her paintings seem to evoke and almost mimic the surrounding reality, it is only by approaching them – entering into a relationship with the pictorial surface – that hints and details of reality gradually lose their sharpness, turning into an abstraction of gestures, traces, manners and pictorial experiences. Poised between reality and fiction, Carrara questions the pictorial medium by showing it to be the subject of a figurative logic that calls on the material itself to transform into something else, thus opening it up to the imaginative and the incidental.

In 2006 she graduated at the Academy of Fine Arts of Brera, then she got an M.A. at the Kask School of Gent in 2014-2015 and in the same years she collaborated with Michaël Borremans as studio assistant.

Solo shows include: Centrul de Interes, Cluj-Napoca, Romania (2022); Riss(e), Varese (2022); Contemporalis, Paris (2022); The Open Box, Milan (2021); RizzutoGallery, Palermo (2020); Boccanera Gallery, Trento (2019); Galleria Iragui, moscow (2019); Istituto Italiano di Cultura, Brussels (2018); Musumeci Contemporary, Brussels (2017). Her work has been featured in many group shows: Fondazione ICA, Milan (2022); Renata Fabbri, Milan (2022); AIS gallery and Rinko-KAKU [Tea Room] Japan (2019); Museum Floris Romer, Gyor (2019); Casa Testori, Novate (2019 and 2018); Villa d’Este, Tivoli (2018); Artopia-Rita Urso Gallery, Milan (2018); Villa Vertua, Nova Milanese (2018); Boccanera Gallery, Trento (2023 and 2016); L.A.C. Lieu d’Art Contemporain, Sigean (2016).

Residencies include: Palazzo Monti, Brescia (2020); Musumeci contemporary, Bruxelles (2018); NCCA, St.Pietroburgo (2017); LKV Trondheim, Norway (2016); Momentum world wild, Berlin (2015).

Lulù Nuti’s multi-disciplinary approach is based on the use of materials as vectors of a different sensibility and language. Questioning our relationship with space, nature and the environment, her works reflect the feelings of powerlessness and responsibility of our time. In her quest for hybridity and contrasts, the artist combines plaster, concrete and metal with natural elements, forcing materials to coexist in an organic whole. In this way, her works contain multiple and contradictory interactions, between fragility and resistance, rupture and solidity, presence and effacement.

After graduating from the Ecole Nationale Supérieure des Beaux Arts de Paris in 2012, Lulù Nuti has exhibited in Italy and abroad in public and private institutions including Fondazione Pescheria, Pesaro, IT (2024); Fondazione Nicola del Roscio, Rome (2023); Gubbio Biennial, Italy; Palazzo Collicola, Spoleto, Italy; Musée des Beaux Arts d’Angers, France; British School at Rome (2023); Parco Archerologico dell’Appia Antica, Rome; Palazzo Marescalchi Belli, Rome (2022); Postmasters Rome (2020); Italian Cultural Center, New-Delhi, India (2019); La Panacée (MFW, MO.CO., Montpellier, 2018); Cité Internationale des Arts, Paris, FR (2014); Museo CAMUSAC (Rilevamenti 2, Cassino, 2020); Biwako Biennale (Fairy Tale, Japan, 2012) and in private galleries including Galleria Alessandra Bonomo (Part 1, Rome, 2017); Galerie Italienne (La Musée, Paris, 2020); Renata Fabbri (SOTTO, Milano, 2022). In 2022 her sculpture Too much heat, nothing to eat travels around the world ( IIC New-York, USA; IIC Seoul, Corea; Changijang Museum of Contemporary Art, China ) with We Love Art, vision and creativity Made in Italy, a project promoted by Italian Ministry of Foreign Affairs and CDP, curated by Ludovico Pratesi and Marco Bassan.

Solo shows include the site-specific exhibition Sistema at archeological site Case Romane del Celio (Rome, 2015) and Calcare il Mondo at Galerie Chloé Salgado (Paris, 2018). In 2018 she founded the artistic duo LU.PA together with Pamela Pintus, an artistic identity that operates through performance actions and site-specific works.