The work of Mathilde Rosier (*Paris, lives and works in Burgundy, FR and Basel, CH) stems from her interest in the physical and psychological experience of ancient rites and rituals.
Her research often embodies fictional offshoots or parts of a narrative, where constellations of self-made costumes, mystic representations of animals and nature often seem like props, an abandoned stage set, or solitary protagonists of an unfamiliar yet compelling reality.

Through the combination of painting, film, dance and theatre, Rosier constructs dreamlike situations that allow the beholder to lose any sense of space and time, opening a portal between conscious and unconscious realms. Rosier creates art that comments on and illustrates the need to return to harmonious ways of integrating human activity with the “natural environment”, including pre-industrial practices that might seem anti-rational, observing the world from the vantage of the present-day countryside.

A selected list of her recent solo exhibitions and performances includes: “Les Champs de prospérité Intensive”, Fondation d’entreprise Pernod Ricard Paris (2023); “Sketches in the margin”, jevouspropose, Zürich (2021); “Le Massacre du printemps”, Museo MADRE, Naples (2020); “MASP”, Sao Paulo (2020); “How to Dance in the Fields”, Razem Pamoja Foundation, Warsaw (2019); “Figures of Climax of the Impersonal Empire”, Fondazione Guido Ludovico Luzzatto, Milan (2018); “In Revolution. Resolution of Some Hierarchic Orders”, Der Tank Institut Kunst, Basel (2016); “Organs of the Whale”, Dortmunder Kunstverein, Dortmund (2012); “Necklace of Fake Teeth”, Camden Arts Centre, London (2011); “Mathilde Rosier. Rite de passage”, Kunstpalais, Erlangen (2011); “Find circumstances in the antechamber”, Musée Jeu de Paume, Paris (2011); “Play for a stage of the Natural Theatre of Cruelty”, performance at Serpentine Gallery, London (2009).