Carla Zaccagnini

Carla Zaccagnini (1973) is a visual artist and writer, born in Buenos Aires, raised in São Paulo, based in Malmö and working in Copenhagen. This in-between position defines her vantage point, her way of seeing, and her (broken) language. Zaccagnini’s practice departs from conceptual frameworks and can solidify in different material results – from printed or spoken text to film, from drawings to installations. She is interested in how invisible power structures or struggles are made visible; what forms they assume when becoming visible; and how these forms are present in our daily lives and imagination. By recontextualising existing objects, analysing recurrent images, and deconstructing persisting narratives, the artist questions the limitations and bias of language and representation, and the fallibility and partiality of perception and understanding. Challenging naturalized ways of thinking, telling, seeing, and depicting her work opens the possibility for other ways of imagining and acting in the world.

Carla Zaccagnini is currently a postdoctoral researcher at the Royal Danish Academy of Fine Arts. Zaccagnini has exhibited in institutions such as CRAC Alsace (Altkirch, 2022), Kadist (San Francisco, 2021), Röda Sten Konsthall (Göteborg, 2018), LACMA (Los Angeles, 2017), Malmö Konsthall (2015), Centre Pompidou (Paris, 2015), Guggenheim Museum (New York, 2014) and MNCA Reina Sofía (Madrid, 2014). She has had solo shows at Krognohuset (Lund, 2024), Amant (New York, 2022), MUNTREF (Buenos Aires, 2019), Museo Experimental el Eco (México DF, 2018), Museu de Arte de São Paulo (2015) and Van Abbemuseum (Eindoven, 2015), among other institutions. Zaccagnini’s work is represented by Galeria Vermelho, São Paulo, and 2112 Gallery, Copenhagen, and is featured in the collections of Moderna Museet (Stockholm), Malmö Konstmuseum, Tate Modern (London), Solomon Guggenheim Museum (New York), MUSAC (León, Spain), Pinacoteca de São Paulo, Museu de Arte Moderna de São Paulo, among others.

The roulette’s recollection

A coin, a dice or a roulette has no memory is a way of saying that every flip of a coin, through of a dice or spin of a roulette wheel remains mathematically independent, with future odds not being affected by past events. The mistaken belief otherwise is called the Monte Carlo fallacy. The roulette’s recollection is a lecture performance about roulette wheels and memory, or about an uncertain future and a preserved past, or about betting and valuing, or about casinos and museums. It is also about ornamental fish and sacred objects, and about dust and fire.