BELO CAMPOInformation

Belo Campo is an epiphyte space for contemporary cultures initiated and run by artist Adrien Missika, currently curated by Francisca Portugal and hosted by Galeria Francisco Fino. It is located in the basement of the gallery in a former wine cellar.

Belo Campo is a not-for-profit structure that aims to infuse and diffuse ideas, experiment with space and time, propose and question formats of contemporary cultures.

Founder and Director: Adrien Missika
Curator: Francisca Portugal

Artist ExhibitionDate
Diogo PintoDiplomacia
24.01.2025 - 03.05.2025
Inês Mendes Leal and Maria Máximo
Force Majeure 28.11.2024 - 18.01.2025
Emmanuelle Lainé & Benjamin Valenza
Apenas nós dois02.05.2024 – 14.09.2024
Henrique Biatto curated by Ana Grebler
Canil17.02.2024 – 20.04.2024
Bruno Bogarim, Beatriz Neves Fernandes, Fox Maxy, Sofia Montanha, Mariana Tilly curated by Pedro Barateiro
Private Property13.12.2023 – 27.01.2024
Ana Manso, Geum Beollae 금벌레, Bernat Daviu, Ana Santos, Gonçalo Sena, Shreyas Karle श्रेयसकर्ले, Rosa Tharrats, André Romão and Hetamoé curated by Joana Escoval
Good evening. Do not attempt to adjust your radio. There is nothing wrong. 24.03.2023 – 17.06.2023
Kinga Kielczynska
Wild Type, Desired Property 05.12.2022 – 15.03.2023
Mané Pacheco
Bestas 15.09.2022 – 19.11.2022
Sarah Ancelle Schönfeld
Ironing Materialism 19.06.2021 – 06.01.2022
Hannah Rowan
Triple Point 18.09.2020 – 22.10.2020
Bless studio, Marta Costa Reis, Ligia Dias, Raquel Dias, Jorge Dias,Patrícia Domingues, Julien Fronsacq, Jenna Kaës, Katie Lagast, LRC designers, Vera Pinto
The Corner Piece 18.09.2020 -  15.01.2021
Carlos Monleón curated by Margarida Mendes
Gastrula Stage 03.05.2019 – 27.07.2019
Saâdane Afif, John M. Armleder, Kinga Kielczynska, Fabian Knecht, Isa
Melsheimer, Steve Paul Steven Paul, Mandla Reuter, Sophie-Therese Trenka-Dalton curated by Adrien Missika
SAM M LUNG 15.02.2019 – 20.04.2019
David Horvitz
Água Viva 14.05.2018 – 28.07.2018
Diana Policarpo
Dissonant Counterpoint 27.01.2018 – 01.03.2018
Gina Folly
Follow You 11.11.2017 – 11.01.2018
Emmanuelle Lainé & Benjamin Valenza Apenas nós dois02.05.2024 – 14.09.2024



They Live and work in Corsica

Lainé Valenza is a pair of artists, a couple, and a duet, formed from a perpetual conversation, from a common ground at the border of their respective research. It is characterized by an interest in institutional critique, the mutation of image forms, and visual attention, with its subjective cultural and political stakes.

Throughout their projects, the duo employs various visual forms, such as sculpture, photography, expanded cinema, site-specific installations, live television, and performances.

Emmanuelle Lainé is a well-known visual artist for her large-scale site-specific installations. They often depict a precise reconstruction of architecture, creating a critical space for the viewer's perception as well as for the hosting institution. Her installations are characterized by a systematic use of very large-format photography, combined with a highly demanding sculptural language.

Benjamin Valenza has been focusing for several years on the creation of a full-fledged, autonomous, and perpetually moving medium. Taking into account anthropology and archaeology as well as media critique, his work unfolds in intentionally undetermined forms. The place of execution and the problematic of context are essential in his work, as they allow for the articulation of sculpture and installation to create situations of micro-politics where the artist often fades into the background in favor of the collective.

Emmanuelle Lainé's work has recently been featured in solo exhibitions at Circuit, Lausanne (2024), Le Portique, Le Havre (2023), Fondation Ricard, Paris (2022), Saint Martin Bookshop, Brussels (2021), Friche Belle de Mai, Marseille, BNKR, Munich, and Mito Art Tower, Japan (2019), Hayward Gallery, London (2018), Palais de Tokyo and BétonSalon, Paris (2017), Villa Arson, Nice (2016), Galerie Motinternational, Brussels (2015), IFAL, Mexico (2015), Fondation d’entreprise Ricard, Paris (2014), and C-o-m-p-o-s-i-t-e, Brussels (2014), among others. She has also participated in numerous group exhibitions, including "Beneath the Moon," ICA Singapore (2016); "La Vie Moderne, Lyon Biennale" (2015); "L’Usage des Formes," Palais de Tokyo, Paris (2015); "Scroll Infiny," La Galerie, Noisy-Le-Sec (2015); "Des pas dans l’escalier," Frac Basse–Normandie, Caen (2014); "6 possibilities for a sculpture," La Loge Brussels (2013); "Intense Proximity," La Triennale, Palais de Tokyo, Paris (2012); "The Rise and the Fall of Matter," David Robert Foundation, London (2011). Emmanuelle Lainé is a graduate of the Ecole Nationale Supérieure des Beaux-Arts, Paris.

Drawing on the specificity of each exhibition context, Emmanuelle Lainé utilizes the movable and immovable resources of the inviting institution to offer a "method of places" as an interface between space, artwork, and audience.

Benjamin Valenza's work has recently been exhibited at Den Frie, Copenhagen; Swiss Institute, Rome; Komplot, Brussels; South London Gallery, London; Fondation d’entreprise Ricard, Paris; CNEAI, Chatou; Forde, Geneva; Form Content, London; Palais de Tokyo, Paris; Castillo-Corales; CNAC Magasin, Grenoble. Benjamin Valenza graduated in visual arts from ECAL (Switzerland) in 2007. In 2006, he founded 1m3 in Lausanne, an independent exhibition space. In 2015, he was a resident at the Swiss Institute in Rome.

The Mediterranean as a critical topos is at the center of his artistic practice.

It is written of Benjamin Valenza's work that he plays with objects, language, and gesture. Indeed, there is a kind of violence in the relationship he maintains with the elements of his performances. This aggression adds depth to the humor present in his pieces. He seeks to break down the categories that give specific meaning to things in order to put them all on the same level. He seeks to create a horizontal structure in which a fish, a man, a newspaper, and a burst of laughter are semiotically equivalent.

This play engenders the disappearance of any original source of authority in his work. The equivalence of things engages the artist in a struggle with his objects, with the words he is supposed to have written, with the actors who are supposedly under his instructions. As a rational and coherent author, Valenza willingly disappears.

The question currently preoccupying Valenza in his studio work is what to do next with this disappearance. One solution is to rework the documentation of the scenarios he has already created, to reproduce more cleanly the sound documentation of his past performances, for example. By blurring the links between event documentation and a post-production fiction, Valenza transforms the event into another link in the chain of equivalence.

https://emmanuellelaine.com