Carlos Bunga was part of the 32nd Bienal de Pontevedra

Carlos Bunga’s interest in the performativity of architecture informed the temporary cardboard structure he built within Rafael Moneo’s Kursaal for Manifesta 5. This structure was imploded through a series of strategic cuts during the opening of the biennale. The remaining skin of the original edifice served as a marker of both interior and exterior.

The artists Carlos Bunga (Portugal, 1976) and Primož Bizjak (Slovenia, 1976) joined forces in 2019 to work on a collaborative project that combined various aspects of their practices.

Drawn by their interest in an example of prefabricated architecture that has survided for more than a century in the middle of the Catalan Pyrenees, they show us a living organism in an advanced state of decay.

a breath? a name? the ways of worldmaking was the 7th edition of Biennale Gherdënia, curated by Adam Budak.

Carlos Bunga was part of the collective exhibition at Gund Gallery, Kenyon College, Sculpture As Verb. Expands on the ideas proposed by one of Richard Serra’s most influential works, Verb List

Carlos Bunga was part of the collective exhibition at MUSEU BIENAL DE CERVEIRA

Carlos Bunga was part of the collective exhibition Uma Cadeira É Uma Cadeira É Uma Cadeira at Galeria Luisa Strina in São Paulo, Brasil.

Carlos Bunga designed the set for the micro opera You Will Disinherit the Earth, presented at the Gran Teatre del Liceu. This was part of a cycle of 3 multidisciplinary operas, that raised questions about issues regarding the climate crisis, interspecies communication, and the acoustics of nature, exploring the relationship between music, new technologies and new dramaturgies.

A traveling exhibition For the 35th edition of the Sao Paulo Art Biennial. Bunga presented Habitar el color, a site-specific commissioned work that invited visitors to a sensory experience of walking on a thick layer of crackled paint and feeling the color and its ephemeral nature with their feet.

For Manifesta 15 in Barcelona, Bunga created La irrupción de lo impredecible, which consists of a monumental painting that emanates light from the floor and a series of cocoons that hang from the ceiling.

At MACBA Barcelona, Bunga presented the installation Animismo. Tables, sideboards and other elements recovered from flea markets are given a new lease of life, in which they merge with the Museum building through interventions with cardboard panels and adhesive tape, ephemeral elements that configure their own unique language.. Reusing furniture as a reflection on the life we bestow on inanimate objects, a new animism that, in this case, inhabits a museum space.

For the 35th edition of the Sao Paulo Art Biennial, Bunga presented Habitar el color, a site-specific commissioned work that invited visitors to a sensory experience of walking on a thick layer of crackled paint and feeling the color and its ephemeral nature with their feet.

For the exhibition Chapter 1: Mental Landscapes of the triennal GIGANTISME - ART & INDUSTRIE, organized by Frac Grand Large, Bunga created the site-specific Cathédrale, presented at Dunkirk’s Halle AP2 (‘Atelier de Préfabrication n° 2).

FdG Projects was the first exhibition space of art collector Frédéric de Goldschmidt, where he shared his acquisitions with the public. He has several artworks by Bunga, which were part of this double exhibition with Fernanda Fragateiro.

With works from the Fundación Botín collection, this exhibition was a reflection on a the current world marked by mutation, instability, social conflict, political tension and environmental danger, and the fragmented perception of reality where the real and the imaginary come increasingly closer together.

For the 2015 Chicago Architecture Biennial, The State of the Art of Architecture, Bunga presented the installation Under the Skin, as the inaugural exhibit at the Stony Island Arts Bank.

De-monumentalisation was the theme, referring to the sculpture being freed from any celebratory, encomiastic function, and rethinking how it could be possible to once again identify ourselves with monuments.

For the 29th São Paulo Biennial, Bunga presented Simultaneo, a site-specific installation made out of mass-produced materials like cardboard, glue, adhesive-tape and home paint.

Bunga exhibited his piece Ruins in Art Basel’s 2008 fair, through art gallery Elba Benitez. An installation made from cardboard laid out on the floor as if a structure had previously been there and had since vanished.