Jota Mombaça
Natal, Rio Grande do Norte, Brasil, 1991 \ Vive e trabalha entre Lisboa, Portugal, e Amesterdão, Países Baixos
Jota Mombaça é uma artista interdisciplinar cujo trabalho parte da poesia, da teoria crítica e da performance. A matéria sonora e visual das palavras desempenha um papel importante na sua prática, assim como a resiliência, a capacidade de memória e a efemeridade dos materiais. O seu trabalho relaciona-se frequentemente com a crítica anticolonial e a desobediência de género. Através da performance, da ficção visionária e de estratégias situacionais de produção de conhecimento, procura ensaiar o fim do mundo tal como o conhecemos e imaginar aquilo que poderá surgir depois de destituirmos o sujeito moderno-colonial do seu pedestal.
Em 2020, Mombaça recebeu a Pernod Ricard Fellowship, em Paris, e foi writer-in-residence no Nottingham Contemporary. Entre as suas exposições individuais recentes encontram-se os projetos SEMPRE VIVA COBRA D’ÁGUA, Gulbenkian, Lisboa (2024); A METHOD/ GRIEVING TIME, West Den Haag (2024); MATERIAL GIRL/ ALL THAT YOU TOUCH, Centre d’Art Contemporain Genève (2024); YOU WILL KNOW/ THE DAUGHTERS OF THE DRIEST RAIN, Martins&Montero (2024); A CERTAIN DEATH/THE SWAMP, CCA Berlin – Center for Contemporary Arts (2023); e THE SINKING SHIP/PROSPERITY, Kadist San Francisco (2022).
O seu trabalho visual e performativo integrou a Bienal do Quebeque (2026) e exposições coletivas institucionais como Una resistencia indetectable, Sala de Arte Joven de la Comunidad de Madrid (2026); Energia, The Merode (2025); Fluid Systems, carlier | gebauer (2025); TONO Festival, Centro Cultural España (2025); Magical Realism, WIELS Contemporary Art Centre (2025); AIR 2025: Life As No One Knows It, Aspen Art Museum (2025); The Woman Who Thought She Was A Planet, Border Buda (2025); Black Ancient Futures, MAAT (2025); Sharjah Art Biennial: To carry (2025); A forma das águas, MAM-RJ (2025); Ellipse and Ellipsis, Foundation Nicoletta Fiorucci (2025); Tactical Specters, Centre d’Art Contemporain La Ferme du Buisson (2025); 60.ª Exposição Internacional de Arte da Bienal de Veneza, com curadoria de Adriano Pedrosa (2024); Black Ancient Futures, MAAT Lisboa (2024); In and Out of Place. Land after Information 1992–2024, Kunstverein Hamburg (2024); Passos do encantamento: Bienal das Amazônias (2024); Echoes Unbound, Fondation Beyeler (2024); La bruit de la chair, FRAC des Pays de la Loire (2023); El terremoto esta intacto, Fundació Miró (2023); My Oma, Kunstinstituut Melly (2023); Bad Timing – or How to Write History Without Objects, DEN FRIE Centre of Contemporary Art (2023); 22.ª Bienal de Sydney, NIRIN (2020); More, More, More, TANK SHANGHAI (2020); 46.º Salón de Artistas, Colômbia (2019); e 34.ª Bienal de São Paulo, Though it’s dark, still I sing (2021), entre outras.
O seu trabalho integra a Coleção Kadist e a coleção da GfZK (Leipzig, Alemanha).
Enquanto escritora, Mombaça é autora de Ñ V NOS MATAR AGORA, uma coletânea de textos publicada pela EGEAC (Portugal, 2019) e pela Editora Cobogó (Brasil, 2021). Os seus ensaios e textos de ficção foram também publicados em contextos institucionais como The Contemporary Journal, Afterall, Le Magazine – Jeu de Paume, Terremoto.Mx, HAU 3000 e Revista Piseagrama, entre outros.
ENG.
Natal, Rio Grande do Norte, Brazil, 1991 \ Lives and works between Lisbon, Portugal; and Amsterdam, Netherlands
Jota Mombaça is an interdisciplinary artist whose work derives from poetry, critical theory, and performance. The sonic and visual matter of words plays an important role in her practice, as well as the resilience, capacity for memory, and ephemerality of materials. Her work often relates to anti-colonial critique and gender disobedience. Through performance, visionary fiction, and situational strategies of knowledge production, she intends to rehearse the end of the world as we know it and the figuration of what comes after we dislodge the Modern-Colonial subject off its podium.
In 2020, Mombaça was granted the Pernod Ricard Fellowship in Paris and the position of writer-in-residence at Nottingham Contemporary. Her recent solo exhibitions featured the projects SEMPRE VIVA COBRA D`ÁGUA, Gulbenkian, Lisbon (2024); A METHOD/ GRIEVING TIME, West Den Haag (2024); MATERIAL GIRL/ ALL THAT YOU TOUCH, Centre D’Art Contemporain Genève (2024); YOU WILL KNOW/ THE DAUGHTERS OF THE DRIEST RAIN, Martins&Montero (2024); A CERTAIN DEATH/THE SWAMP, CCA Berlin – Center for Contemporary Arts (2023); and THE SINKING SHIP/PROSPERITY, Kadist San Francisco (2022). Her visual and performative work has been included in the Quebec Biennial (2026), and in institutional group exhibitions such as Una resistencia indetectable, Sala de Arte Joven de la Comunidad de Madrid (2026); Energia, The Merode (2025); Fluid Systems, carlier | gebauer (2025); TONO Festival, Centro Cultural España (2025); Magical Realism, WIELS Contemporary Art Centre (2025); AIR 2025: Life As No One Knows It, Aspen Art Museum (2025); The Woman Who Thought She Was A Planet, Border Buda (2025) Black Ancient Futures, MAAT (2025); Sharjah Art Biennial: To carry (2025); A forma das águas, MAM-RJ (2025); Ellipse and Ellipsis, Foundation Nicoletta Fiorucci (2025); Tactical Specters, Centre D’ Art Contemporain La Ferme du Buisson (2025); 60th International Art Exhibition of La Biennale di Venezia, curated by Adriano Pedrosa (2024); Black Ancient Futures, MAAT Lisboa (2024); In and Out of Place. Land after Information 1992 – 2024, Kunstverein Hamburg (2024); Passos do encantamento: Bienal das Amazônias (2024); Echoes Unbound, Foundation Beyeler (2024); La bruit de la chair, FRAC des Pays de La Loire (2023); El terremoto esta intacto, Fundació Miro (2023); My Oma, Kunstinstituut Melly (2023); Bad Timing – or How to Write History Without Objects, DEN FRIE Centre of Contemporary Art (2023); 22nd Biennale of Sydney, NIRIN (2020); More, More, More, TANK SHANGHAI (2020); the 46th Salon de Artistas in Colombia (2019); the 34th São Paulo Biennale, Though it’s dark, still I sing (2021), among others. Her work is included in the Kadist Collection, as well as in the GfZK (Leipzig, DE) collection.
As a writer, Mombaça is the author of Ñ V NOS MATAR AGORA, a collection of texts published by EGEAC (Portugal, 2019) and Editora Cobogó (Brazil, 2021). Besides that, she has had her essays and fictional writings included in institutional publications such as The Contemporary Journal, Afterall, Le Magazine – Jeu de Paume, Terremoto.Mx, HAU 3000, Revista Piseagrama, among others.
