Através (1983-1989) takes as a point of departure the child recollections of Cildo Meireles, a turning point from a moment when one could freely circulate between domestic spaces and the street, to the time when such spaces started to be surrounded by surveillance mechanisms – in the physical sense as much as in the psychological … Continued
Glove Trotter (1991) was first shown at the itinerant exhibition Latin American Artists of the Twentieth Century (1992-1993), that has been presented in several important art institutions, and lastly at the MoMA – Museum of Modern Art in New York (USA). The work is composed of several spheres of different sizes, colors, and materials collected … Continued
Passarinhos – de Inhotim a Demini (2008) is exposed outdoors, recovering the benches of the gallery’s terrace. The hand-painted tiles are the support to individual reproductions of more than 490 birds of different species. The work is an unfolding of the installation Pássaros da Amazônia (2003), presented in the exhibition Yanomami – Spirit of the … Continued
O colecionador (2008) is part of the Saunas series, approaching the sensual and erotic charge of these spaces. It is an unfolding of O Sonhador (2006), magnifying both its size and drawing. Here, Adriana Varejão leaves the Portuguese baroque tiles and goes towards the representation of monochromatic ceramic pieces, recurring in the construction of aseptic … Continued
The surface of Linda do Rosário (2004) makes reference to regular tiles, white ceramic squares that are often seen in aseptic environments, like kitchens and bathrooms. Painted viscera then come out of what would be the guts of this ruined wall – a feature of the Charques series, produced by the artist since the 2000s. … Continued
Celacanto provoca maremoto (2004-2008) was first presented in 1999 at Galeria Camargo Vilaça (São Paulo), in a reduced version with another title: Azulejões. It was for the exhibition held at Fondation Cartier pour l’art contemporain (France) in 2005 that Adriana Varejão conceived the current format of the work that now occupies the walls of the … Continued
In Psicopompo Cooking Crystal (2010) one can observe the construction of an image that seems to be removed from a larger, unknown context. The iron and steel gate is open, and the door is covered by magnets. In a mystical reading, gates are the representation of moments of energetic transformation, just like magnets, that also … Continued
Vanguarda Viperina (1985) is part of a set of works in which Tunga handles living beings, like in Laminadas Almas (2004). In it, we can see the black-and-white photo made by Lúcia Helena Zaremba of the performance held in 1985 at Instituto Vital Brazil, the institution responsible for producing antivenom. Once sedated, three snakes were … Continued
In X-estudo (2009), a silver tray is connected by metal threads to a structure similar to the one used in marionettes, except that covered in rough blocks of magnets, which creates a magnetic field. This field is the basis to the other elements articulated in the work. Due to their physical-chemical properties, the materials present … Continued
In Viewing Machine (2001), the experience and process regarding the audience perception lay among the central drives of Olafur Eliasson to create this work. The piece is based on the working principles of a kaleidoscope. Invited to manipulate the ‘viewing machine,’ the visitor can point it to whatever direction and observe through it a point … Continued