In the 1970s, the workers of Labyris Books, the first female bookstore in New York, coined the slogan “the future is female”. Almost six decades later, they proved to be right. And, if art has the power to point paths to the horizon, it is only legitimate to invite three women to present artistic installations at CASACOR SP 2025 that provoke us to reflect on this future. Instalação Aterradora Liberdade, por Regina Parra, na CASACOR São Paulo 2025. (Adriana Barbosa/CASACOR)
Bruna Mayer, Juliana dos Santos, and Regina Parra were the three names chosen to engage with the themes discussed in this edition of the exhibition, held for the first time at the Parque da Água Branca. In common, they bring not only the female power but also the belief in a tomorrow grounded in coexistence and co-creation between interspecies subjects, the confluence of languages and knowledge, and nature as a field for building communities. Bruna Mayer and the invisible world
The very soil of the São Paulo park collaborates in one of the works presented by Bruna Mayer – whose research investigates the universe of living microorganisms to create multidisciplinary works that blur the boundaries between life and death, body and nature. In the garden of landscape architect Vitor Kodama, an installation from the series Agglomerations, especially commissioned for the occasion, took form and color from the laboratory cultivation of the local substrate in contact with the author's skin. Kawai Paisagismo - Jardim Simbiose. Projeto da CASACOR São Paulo 2025. (Camila Santos/CASACOR)
Caminhando descalça pelo Parque da Água Branca, Bruna coletou microrganismos do solo, do ar e da vegetação, que se desenvolveram em coexistência com partículas provenientes de seu corpo. Os três totens de vidro com formatos inspirados em fragmentos de rochas funcionam como meio de cultura desse habitat vivo. “Eu busco tornar o invisível visível, brincando com a contradição entre fascínio e repulsa, vivo e morto, para mostrar que até o que a gente vê como inanimado tem vida,” provoca. The vibrant color of Juliana dos Santos
What colors Juliana dos Santos's installation is another living being: the edible flower of Indonesian origin Clitoria ternatea, with which she came into contact eight years ago during a meditation at a Buddhist temple. The color of the petal corresponds to the blue-violet related to the frontal chakra. In practice, Juliana borrows this pigment from nature and blows its powder into water to dye and texture the paper. “This encounter is beyond experiencing it as a mere instrument. What interests me is its calling within the condition of being alive, and how this resonates in me in a synesthetic way,” she analyzes. Dois Tempos, instalação artística de Juliana dos Santos na CASACOR SP 2025. (Leo Martins/Veja SP/Divulgação)
The result is always unpredictable and unique, as plants have their own agency. “The clitoria develops in response to oxidation, to the air. It is not permanent. This, for me, is its radicality,” says the artist. The novelty for the site-specific proposal presented at CASACOR SP is the medium: raw cotton canvas, which houses the dialectic between the color of mineral and synthetic pigments and the plant tone of the petal. A meditative immersion in this chromatic dialogue is offered to visitors, who find themselves surrounded by five suspended panels of 3 x 1.5 m, testament to the action of time on colors of different origins. Regina Parra tells truths in neon
The São Paulo artist Regina Parra presents an exclusive installation in orange neon, over 2 m high, that carries the statement Aterradora Liberdade. The words were extracted from the text The Passion According to G.H. (Rocco), in which Clarice Lispector's character goes through an existential crisis. Initially better known for her paintings focused on female anatomy, the multidisciplinary artist began to use these luminous insignias out of the desire to give body to some phrases that haunted her, and neon proved to be ideal to give voice to these mental notes. “I love the aesthetics of old floriculture neon signs, pharmacies, sex shops… It has the visuality of a scream, which calls for desire.” Instalação Aterradora Liberdade, por Regina Parra, na CASACOR São Paulo 2025. (Adriana Barbosa/CASACOR)
On the other hand, the choice of words operates in the reverse sense: “It is almost an internal whisper, things you would say to yourself,” she confesses. The contact with Clarice's novel happened during the pandemic, and the pair of words that compose the neon accompanied her throughout the last five years. The invitation from CASACOR brought the opportunity to rescue them and, through them, reposition her subjectivity in a public space, connecting people around shared feelings. 
