Veronica Laminarca
I work from feeling first. Before any concept is named, there is a sensation of nostalgia, of unease, of something half-remembered, and I follow it. My practice is, in this sense, a form of investigation through affect: I use images, installations, and mixed media to chart what cannot be fully articulated, only circled.
Much of what I circle returns to the same terrain: intimacy, the domestic, and the fictions we build to inhabit both. I am drawn to spaces where the familiar has become strange, where a repeated gesture, a room, a face becomes suddenly opaque, full of passages you did not notice before. Secrets not as concealment, but as depth. The rabbit hole beneath the ordinary.
Running parallel to this is my relationship with the internet, which I understand not as a tool but as a landscape I grew up inside. The aesthetics of early digital culture, its visual excess, its homeliness, its particular mixture of the public and the private, shaped how I see before I had language for it. I think about the internet the way I think about childhood: as a space that formed me and that I am still, in some way, trying to read.
These two threads, the domestic and the digital, are not separate in my work. Both are sites where identity is constructed and obscured, where fiction and reality lose their edges, where intimacy is always also a kind of archive. I move between them looking for the same thing: the feeling underneath the image, and what it might, with patience, reveal.
Much of what I circle returns to the same terrain: intimacy, the domestic, and the fictions we build to inhabit both. I am drawn to spaces where the familiar has become strange, where a repeated gesture, a room, a face becomes suddenly opaque, full of passages you did not notice before. Secrets not as concealment, but as depth. The rabbit hole beneath the ordinary.
Running parallel to this is my relationship with the internet, which I understand not as a tool but as a landscape I grew up inside. The aesthetics of early digital culture, its visual excess, its homeliness, its particular mixture of the public and the private, shaped how I see before I had language for it. I think about the internet the way I think about childhood: as a space that formed me and that I am still, in some way, trying to read.
These two threads, the domestic and the digital, are not separate in my work. Both are sites where identity is constructed and obscured, where fiction and reality lose their edges, where intimacy is always also a kind of archive. I move between them looking for the same thing: the feeling underneath the image, and what it might, with patience, reveal.
- 2024 — MFA Visual Arts and Post-Contemporary Practice, Master Institute of Visual Cultures, AKV|St. Joost, ’s-Hertogenbosch, NL
- 2018 — BFA Visual Arts (Painting, Engraving and Sculpture), Centro Universitário Belas Artes de São Paulo, BR
Programmes & Residencies
- 2023–24 — Criticae, PhMuseum (online)
- 2023 — Rethinking the Artist Economy, De Kleine Aarde, Boxtel, NL
- 2022 — Mirante Xique-Xique, Igatu, Chapada Diamantina, BR
- 2021 — Manda fotos de agora, BICA Plataforma (web residency)
- 2018 — Undergraduate research scholarship, Belas Artes de São Paulo: Restoration as Confirmation of the Identity of the Work of Art: Materials
Grants & Awards
- 2026 — VCO grant (Versterken Cultureel Ondernemerschap)
- 2024 — Stichting Tiny V. Stipendium, NL
- 2024 — New Vision, Photo 31, Amsterdam, NL — Honourable Mention
Upcoming
- 08 Dec 2026 — Presentation Ordinary Gestures and Panel discussion, 14h-16h, Nieuwe Veste Breda – Lecture Hall, NL
Selected Exhibitions
2024
- State of the Art, Stichting Tiny V., Eusebiuskerk, Arnhem, NL
- Hope this ( ) Finds You Well, Master Institute of Visual Cultures, ’s-Hertogenbosch, NL
- Will Home Find Me?, Melkfabriek, ’s-Hertogenbosch, NL
2023
- WHITE BOX, Flæði Gallery, Reykjavík, IS
- Print Screen, Ice Box Project Space, Philadelphia, US (part of The Wrong Biennale)
- Memória e impermanência, NUPPI / Espaço Chão SLZ, Maranhão, BR, and LAM-GM, Bragança, PT
2021
- Acervo Rotativo, Oficina Cultural Oswald de Andrade, São Paulo, BR
- SAV 2021 — Salão de Artes Visuais de Vinhedo, Galeria de Artes Edilson Caldeira, Vinhedo, BR
- PaPerFactory, Punk Cinema Festival Athens, GR
- Instability and Precariousness, Loosen Art, Rome, IT
2020
- 100 Photos, Azucar Gallery, Berlin, DE
- Punk Cinema Festival Amsterdam, NL
- 5ª FRESTA, Instituto de Artes – FURG, BR (streamed)
2019
- Sem Anos de História, Festivau de C4nn3$, Lona Galeria, São Paulo, BR
- V Exposição Internacional de Arte Postal, Sede Cândido Ferreira, Campinas, BR
2018
- Abstratas Moradas, Espaço Di Grado, São Paulo, BR
- Terceira Bienal da Quebrada, Casa da Xiclet, São Paulo, BR
- Lambidas – 1ª Ocupação de Lambes, Matilha Cultural, São Paulo, BR
Selected Online Exhibitions
- The Wrong Biennale, online pavilions (2020, 2021, 2023)
- 020202020.SPACE, online pavilion with Hong Kong, Taipei, Seoul, Amsterdam, Athens and Barcelona (2020)
- This Show is Curated by a Machine, Museum of Wild and Newfangled Art (2021)
Curatorial
- 2023 — Continuous Interlude, The Wrong Biennale, online pavilion (with Rodrigo Ferrarezi)
Publications
- 2026 — Ordinary Gestures, photobook, self-published, edition of 350, design by Syb Kuiper
- 2021 — Até breve, photobook, self-published, edition of 84, São Paulo, BR
- 2021 — 11a Revista Têmpera, Grupo Têmpera (online magazine)
- 2021 — La Herrida, Galeria de Mulheres Artistas La Herrida (online magazine)
- 2019 — Rare Birds Magazine, “Being Human,” Issue 001, New York, US
Book Fairs
- 2023 — Fanzineist Vienna Art Book & Zine Fair, SPROUT PUBLISH stand, Vienna, AT
- 2023 — Fotoboekenbeurs, SPROUT PUBLISH stand, Eindhoven, NL
Press
- 2024 — Criticae 2023/24 final presentation, PhMuseum
- 2023 — Feature on Até breve, Blog do Juan Esteves
- 2021 — 10 young Brazilian photographers to follow on Instagram, BuzzFeed Brasil