Priscila Fernandes is an artist whose practice spans painting, drawing, installation, photography, video, and book publishing. Through a speculative, fictional, and humorous approach, her work raises concrete questions about the idea of individual and collective freedom—particularly in the context of precarity, the commodification of time, and the looming threat of violence in contemporary societies.

Based in the Netherlands, she is the co-head of the BEAR (Base for Experiment, Art and Research) bachelor’s program at ArtEZ University of the Arts, and co-director of Kunstwerk Kolderveen - landfall foundation.

Priscila Fernandes has held both solo and group exhibitions at various institutions, including: the São Paulo Biennial Foundation with the work Gozolândia and Other Futures; Playgrounds at the Museo Nacional Centro de Arte Reina Sofía; The Book of Aesthetic Education of the Modern School at the Fundació Joan Miró; Back to the Sandbox: Art and Radical Pedagogy at the Reykjavik Art Museum; PIGS at the Artium Basque Museum; Learning for Life at the Henie Onstad Kunstsenter, Oslo; This is the time. This is the record of time at the Stedelijk Museum Bureau Amsterdam; Leisure School at CIAJG; 12 Contemporâneos at the Serralves Museum, Porto; Um Oasis ao Entardecer at MAAT, Lisbon, and Those bastards in caps come to have fun and relax by the seaside instead of continuing to work in the factory, at TENT, Rotterdam.

Some of her publications include The Book of Aesthetic Education of the Modern School (2014), The Waterslide of Abstract Art (2022), Idleness’ Owl (2022), and Rusted Armour, Skin of Dreams (2023). She was awarded the Brutus Prize in 2018 (AVL Mundo, Rotterdam) and the EDP New Artists Award in 2011 (EDP Foundation, Lisbon).