Pimenta’s practice spans photography and performance, rooted in a keen observation of daily rituals, transient moments, and contemporary culture.
Through compelling visual narratives, Carolina Pimenta’s gaze lingers on what is often left unnoticed, focusing on the subtle margins of unfolding events. This intimate and contemplative aspect of her work is especially evident in the analogue photographs, which lend the image a warmth and materiality akin to painting.
Themes of play, memory, intimacy, and humour permeate her work, blending the spontaneity of documentary realism with the intentionality of staged scenes. Pimenta’s photography captures the strength of observation with a sharp eye for freezing moments, situations, and corners of her environment-often overlooked by others. It’s as if she suspends time, while still fully inhabiting the present. With each click of the shutter, she invites viewers to pause, reflect, and embrace the beauty and chaos of contemporary life.
Carolina Pimenta solo exhibitions, include: Después de la Imagen, Pamela Wissenberg, Pabellón Labor AGO, Mexico City, MX (2023); This Side of Nowhere, Galeria Nuno Centeno, Porto, Portugal (2022); Almost Famous (curated by Julião Sarmento), Galeria Nuno Centeno, Porto, Portugal (2019); One Shot, Gaivotas 6, Lisbon, Portugal (2018); She has taken part in several group exhibitions, including; Under Forty, Casa Siza, Saenger Galería, Mexico City; High Seas, High Hopes, PH Museum Days, Bologna, IT (2024); Spirit Shop, FARRA, Museu de Arte Contemporânea de Elvas, Elvas, Portugal (2024); Mexico(2024); I Could Eat You, Casa da Cultura da Comporta, Comporta, Portugal (2022); Escola de Libertinagem (curated by Alexandre Melo), Galeria Francisco Fino, Lisbon, Portugal (2022); Dip Me in the River, Drop Me in the Water! (curated by Carolina Trigueiros), Galeria Pedro Cera, Lisbon, Portugal (2021); Poltch (curated by Julião Sarmento), Museu do Caramulo, Caramulo, Portugal (2019); Hypersex, MAAT – Museu de Arte, Arquitetura e Tecnologia, Lisbon, Portugal (2017).
