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Isadora Neves Marques is a filmmaker, visual artist, and writer. Until 2022 she worked under the name Pedro Neves Marques.
Contacts:
Personal: isadoranevesmarques@gmail.com
Art: info@galleriaumbertodimarino.com
Cinema: dir@portugalfilm.org
ART & CINEMA
She was the Portuguese Official Representation - Portugal Pavilion at the 59th Venice Biennale (2022), with her project Vampires in Space.
She was awarded a Special Prize by the Pinchuk Future Generation Art Prize in 2021 and the Present Future Generation Art Prize at Artissima in 2018 for her art career.
Her films premiered at Semaine de la Critique - Cannes Festival, International Film Festival Rotterdam, and Toronto International Film Festival, and have been screened in more than a 100 film festivals worldwide.
She was awarded the Ammodo Tiger Short Award at the International Film Festival Rotterdam in 2022 as well as best short film prize at Xposed Queer Film Festival Berlin for her film Becoming Male in the Middle Ages. Her film The Bite won best short film awards at Go Short - Nijmegen, Mix Brasil, Sicilia Queer Film Festival, and Short Waves, as well as the Kodak Prize at MIEFF in 2020.
Her films have also screened in art institutions such as:
Museo Reina Sofia (Madrid)
Tate Modern Film and Serpetine Galleries at Peckhamplex Cinemas (London)
HOME (Manchester)
e-flux and Anthology Film Archives (New York)
Batalha Centro de Cinema (Porto)
Leeum Art Museum (Seoul)
MADRE (Naples), among others.
Her artworks has been shown in art institutions globally:
Solo shows:
High Line (New York)
e-flux (New York)
Pérez Art Museum of Miami (Miami)
Kyoto City University of the Arts Gallery (Kyoto)
Castello di Rivoli (Turin)
Gasworks (London)
CA2M (Madrid) and CaixaFórum (Barcelona) (with Zahy Tentehar)
Torreão Nascente - Lisbon Municipal Galleries and Berardo Museum Collection (Lisbon).
1646 (The Hague), among others.
Group shows:
Palais de Tokyo, Frac Ile-de-France and Kadist Art Foundation (Paris)
PAV (Turin)
Inside Out Museum (Beijing)
Guandong Times Museum (Guangzhou)
SculptureCenter and Elizabeth Foundation for the Arts (New York)
Renaissance Society (Chicago)
Matadero (Madrid)
MADRE (Naples)
MAAT (Lisbon)
Aarhus Kunsthal (Denmark)
Hamburg Kunstverein and Max Ernst Museum (Germany), among others.
Art biennials:
Liverpool Biennial
Gwangju Biennale
Guangzhou Image Triennial
New Museum Triennial
Yinchuan Biennale
Göteborg Biennial, among others.
Her artworks are included in art collections such as:
Castelo di Rivoli - Museo d'Arte Contemporanea (Turin)
Wellcome Collection (London)
Kadist Foundation (Paris)
and several private collections.
Together with film producer Catarina de Sousa, she founded the cinema production company Foi Bonita a Festa in 2021.
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WRITING
In 2020 she founded the poetry press Pântano Books together with Alice dos Reis, publishing her first poetry collection and originals and translations by, to date, CAConrad, Odete, and Serubiri Moses.
Her poetry has also been included in magazines and books such as Documents of Contemporary Art: Health (MIT Press and Whitechapel, 2020), Sex Ecologies (MIT Press), and Dolce Criolo.
Her essays and critical writings focus primarily on the intersections of art and cinema with ecology, gender, technology, and science fiction. She is a regular contributor to e-flux journal and Art Criticism, and has published in books by MIT Press, Verso, Sternberg Press, Archive Books, and museums such as Haus der Kulturen der Welt, among others.
She is the editor of the anthologies YWY, Searching for a Character Between Future Worlds (Sternberg Press, 2022) and The Forest and the School/ Where to Sit at the Dinner Table? (Archive Books, 2015). She was guest-editor for e-flux journal #65, the Supercommunity issue, for the 56th Venice Biennalle in 2015, since available by Verso.
She is the author of two books of short stories, Morrer na América (Abysmo Editora and Kunsthalle Lissabon, 2017) and The Integration Process/ O Processo de Integração (bilingual; Atlas Projectos, 2012).
She is happily and steadily writing her first novel and developing her first feature-length film, while busy with short stories and the daily practice of poetry.