Sandra Lapage / Carlos Pileggi


Sandra Lapage / Carlos Pileggi

Sandra Lapage got her MFA from the Maine College of Art in 2013. She has participated in collective and solo exhibitions in Brazil, Europe and the United States, notedly at the Brazilian Embassy in Brussels (2007), at the Ribeirão Preto Art Museum for the 2006 exhibition program, at the Centro Cultural São Paulo in 2012, at the Gowanus Loft (NYC) in 2014 and 2015, at the Blumenau Art Museum and Aura Arte Contemporânea (São Paulo) in 2018, Museu de Arte de Ribeirão Preto and Andrea Rehder Arte Contemporânea (São Paulo) in 2019, and A60 Contemporary Artspace (Milan), Kunsthalle am Hamburguer Platz (Berlin), Surface Gallery (UK), Tianjin International Digital Imaging Exhibition (China), SP-Arte (Brazil) and CICA Museum (Korea) in 2020.Sandra has resided at various institutions such as the Fondation Château Mercier (Switzerland) and NARS Foundation (NYC) for 6 months in 2014, Elefante Centro Cultural (Brasilia) in 2015, Camac Art Center (France) and Paul Artspace (USA) in 2016, Massachussets Museum of Contemporary Art in 2017 and Monson Arts in 2019, and will attend ART OMI and Odyssée (Château de Goutelas, France) in 2021.

Sandra Lapage otrzymała tytuł MFA w Maine College of Art w 2013 roku. Uczestniczyła w wielu wystawach grupowych i indywidualnych w Brazylii, Europie i w Stanach Zjednoczonych. Między innymi w Ambasadzie Brazylijskiej w Brukseli ( w 2007 roku), w Ribeirão Preto Art Museum ( w 2006 roku), w Centro Cultural São Paulo (w 2012 roku), w Gowanus Loft w NYC (w roku 2014 i 2015). w Blumenau Art Museum oraz Aura Arte Contemporânea w São Paulo (w 2018) , Museu de Arte de Ribeirão Preto i Andrea Rehder Arte Contemporânea w São Paulo (w 2019 roku), A60 Contemporary Artspace w Mediolanie, Kunsthalle am Hamburguer Platz w Berlinie, Surface Gallery w Anglii, Tianjin International Digital Imaging Exhibition w Chinach, SP-Arte w Brazylii oraz w CICA Museum w Koreii (w 2020). Ponadto Sandra brała udział w wielu projektach i rezydencjach w instytucjach kultury takich jak np. Fondation Château Mercier w Szwajcarii, NARS Foundation w NY (6 miesięcy w 2014), Elefante Centro Cultural w Brazylii (w 2015 roku), Camac Art Center we Francji oraz Paul Artspace w USA (w  2016 roku), Massachussets Museum of Contemporary Art w 2017 roku oraz Monson Arts w 2019 roku. W 2021 roku zamierza wziąć udział w projekcie w ART OMI and Odyssée (Château de Goutelas we Francji.



Carlos Pileggi received his masters degree from the Maine College of Art in 2013, revalidated by the University of São Paulo. He participated in collective and individual exhibitions in Brazil, Europe and the United States. Since 2010, he has participated in several Art Residency programmes such as Triangle Arts Association (USA), Camac Art Center (France) and Paul ArtSpace (USA)and at Massachusetts Museum of Contemporary Art in 2017. He was a visiting artist at Tyler School of Art (Philadelphia) and Maine College of Art (Portland), United States. Carlos is involved in collaborative projects, A Eclusa (@aeclusa) and Reator (@reator.coletivo). He is currently the Programme Leader for the Foundation Art & Design Studies at the Britannic School of Creative Arts in São Paulo, Brazil.
Carlos Pillegi ukończył studia z tytułem MFA w  Maine College of Art w roku 2013, który nostryfikowany został przez 
Uniwersytet w São Paulo. Brał udział w wielu wystawach grupowych i indywidualnych w Brazylii, Europie i w Stanach Zjednocznonych. Od 2010 roku uczestniczył w wielu wystawach i programach, między innymi: Triangle Arts Association (USA), Camac Art Center (Francja), Paul ArtSpace (USA),  Massachusetts Museum of Contemporary Art in 2017. Był również artystą wizytującym, biorącym udział w programie uczelni Tyler School of Art (Philadelphia) oraz Maine College of Art (Portland) w Stanach Zjednoczonych.
Carlos tworzy również projekty oparte na kolabracji w tym projekt A.Eclusa (@aeclusa) z Sandrą Lapage oraz Reator (@reator.coletivo).
Obecnie jest liderem programu Fundacji Sztuki i Designu w Britannic School of Creative Arts w São Paulo, w Brazylii.



At the studio: processes
Documentary created for the Centro Cultural do Alumínio.
Curatorial text: Carollina Lauriano
Photography: Ana Pigosso
Soundtrack: Bruno Gold
*mountain range track: Bruno Gold + Felinto
Video and editing: Daniel Argieri
Filmed at Vão Espaço independente de Arte, São Paulo, Oct 2020
With support from the Centro Cultural do Alumínio, São Paulo

ECLUSA / Sandra Lapage / Carlos Pileggi

The purge

to video
An escape from São Paulo, breaking from the strict quarantine in a small apartment. It felt like a blessing to just see some open landscape. As we could freely walk around, we found a natural water fountain and a sanctuary with religious connotations by its side. People would leave thankful copper plates or small religious gifts for something they felt thankful for. I am always weary of catholic symbols, but here they were mixed with other ones, illustrating the beauty of Brazilian syncretism.
Sadly, when we stopped by the same spot the next day, there had just been a “clean up” that not only removed stains and a certain messiness that gave the whole thing its charm, but also expressions others than the catholic ones: and that is also Brazil, Bolsonaro’s Brazil, a country of bigots, racists, misogynists. The pandemic doesn’t seem to change the rooted intolerance which seems intimately connected to the origins of new pandemics.

The future never comes

to video:

Part 1 Video 1370×1024 2’35”

This series of videos work as a pause, during the pandemic, to look at our ow country and its struggles as it fails miserably, as in other domains, to deal with the sanitary crisis. As visual artists, we have always kept a melancholic relationship to the modern Brazilian architecture movement. A symbol of the years predating the industrial boom in the 1950’s, Brazilian modernist architecture is a beautiful, promising, utopian and futuristic concrete-based display of architectural beauty and engineering marvel. Today, it stands, in its many public palaces, as a symbol of a future that never came and sadly seems to never come, as Brazil continuously stumbles on its recurring mistakes, politically, ethically and morally. In these videos, we aim at showing some of the beautiful curves, pilotis and other characteristics of modernist architecture, sometimes in contrast to a state of decay.