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Adriana Varejão

Adriana Varejão, Green Song - LA, 2017 Oil and plaster on canvas, 70 ⅞ × 70 ⅞ inches (180 × 180 cm)© Adriana Varejão, photo by Jaime Acioli

Adriana Varejão, Green Song - LA, 2017

Oil and plaster on canvas, 70 ⅞ × 70 ⅞ inches (180 × 180 cm)
© Adriana Varejão, photo by Jaime Acioli

Adriana Varejão, Azulejão (voluta), 2016 Oil and plaster on canvas, 70 ⅞ × 70 ⅞ inches (180 × 180 cm)© Adriana Varejão, photo by Vicente de Mello

Adriana Varejão, Azulejão (voluta), 2016

Oil and plaster on canvas, 70 ⅞ × 70 ⅞ inches (180 × 180 cm)
© Adriana Varejão, photo by Vicente de Mello

Adriana Varejão, Monocromo Roma I, 2016 Oil and plaster on canvas, 70 ⅞ × 70 ⅞ inches (180 × 180 cm)© Adriana Varejão, photo by Vicente de Mello

Adriana Varejão, Monocromo Roma I, 2016

Oil and plaster on canvas, 70 ⅞ × 70 ⅞ inches (180 × 180 cm)
© Adriana Varejão, photo by Vicente de Mello

About

Through her vastly evocative works and materially diverse artistic practice, Adriana Varejão presents incisive reflections on the multiplex nature of Brazilian history, memory, and culture. Her oeuvre encompasses painting, sculpture, photography, and video installation. Reflected in her hybridization of mediums in manifold forms—including sculptural paintings and floor-based sculptural works—is the syncretism immanent to Brazil’s postcolonial identity. Varejão draws upon aesthetic traditions and a visual legacy resulting from transnational exchange, imperial and otherwise, to create a confluence of forms that she ultimately conceives as a metaphor for the modern world.

Varejão was born in 1964 in Rio de Janeiro. Her work has been featured in solo museum exhibitions worldwide, including Azulejões, Centro Cultural Banco do Brasil, Rio de Janeiro and Brasília (2001); Chambre d’échos / Câmara de ecos, Fondation Cartier pour l’art contemporain, Paris (2005, traveled to Centro Cultural de Belém, Lisbon; and DA2, Salamanca, Spain); Hara Museum of Contemporary Art, Tokyo (2007); Inhotim Centro de Arte Contemporânea, Brumadinho, Brazil (2008); Adriana Varejão: Histórias às Margens, Museu de Arte Moderna de São Paulo (2012, traveled to Museu de Arte Moderna do Rio de Janeiro; and Museo de Arte Latinoamericano de Buenos Aires, through 2013); Institute of Contemporary Art, Boston (2014); Kindred Spirits, Dallas Contemporary (2015); and Transbarroco, Villa Medici, Rome (2016). Her work is held in the collections of the Museum of Contemporary Art San Diego; Metropolitan Museum of Art, New York; Solomon R. Guggenheim Museum, New York; Inhotim Centro de Arte Contemporânea, Brumadinho, Brazil; Museu de Arte Moderna de São Paulo; Museu de Arte do Rio, Rio de Janeiro; Coleção Gilberto Chateaubriand, Rio de Janeiro; Tate, London; Fondation Cartier pour l’art contemporain, Paris; Fundació Bancària “la Caixa,” Barcelona, Spain; Stedelijk Museum, Amsterdam; and Hara Museum of Contemporary Art, Tokyo, among others.

In 2008 a permanent pavilion dedicated to Varejão’s work was inaugurated at Inhotim Centro de Arte Contemporânea in Brazil. In 2016 she was commissioned to produce a temporary mural, based on her epic work Celacanto provoca maremoto, which covered the entire facade of the Centro Aquático for the 2016 Summer Olympics in Rio de Janeiro.

Varejão lives and works in Rio de Janeiro.

Fairs, Events & Announcements

Adriana Varejão, Rome Meat Ruin, 2016 © Adriana Varejão. Photo: Vicente de Mello

In Conversation

Adriana Varejão
Adriano Pedrosa

Saturday, August 24, 2019, 12pm
Museo Tamayo, Mexico City
museotamayo.org

On the occasion of the opening of her exhibition Otros cuerpos detrás at the Museo Tamayo, Mexico City, Adriana Varejão will speak with the show’s curator Adriano Pedrosa. The pair will discuss the evolution of the artist’s practice and her emphasis on a historical revision of colonialism in Brazil. To attend the free event, register with Museo Tamayo.

Adriana Varejão, Rome Meat Ruin, 2016 © Adriana Varejão. Photo: Vicente de Mello

Adriana Varejão, Cores Polvo, 2019 © Adriana Varejão

Commission

Adriana Varejão
Cores Polvo

Adriana Varejão was commissioned by Sesc Guarulhos, Brazil, to create a mural for the building’s entranceway. Cores Polvo (2019) is comprised of seven giant abstract color wheels that address issues of race, colonialism, and self-identification. The skin-tone shades featured in the motifs were inspired by a 1976 Brazilian government survey in which ordinary citizens were invited to describe their own skin tones in terms meant to replace the existing five previously established characterizations.

Adriana Varejão, Cores Polvo, 2019 © Adriana Varejão

Adriana Varejão, Azulejão (Neo-concrete), 2016 © Adriana Varejão

In Conversation

Adriana Varejão, Luisa Duarte, Ayrson Heráclito, Lilia Moritz Schwarcz

Tuesday, April 16, 2019, 4pm
Museu de Arte Moderna da Bahia, Salvador, Brazil
www.ipac.ba.gov.br

On the occasion of the opening of Adriana Varejão–Por uma retórica cannibal at the Museu de Arte Moderna da Bahia, Adriana Varejão will speak with curator Luisa Duarte, artist Ayrson Heráclito, and anthropologist Lilia Moritz Schwarcz about Afro-Brazilian history and culture. The event is free and open to the public.

Adriana Varejão, Azulejão (Neo-concrete), 2016 © Adriana Varejão

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Museum Exhibitions

Adriana Varejão, Cadernos de viagem: Yãkoana, 2003 © Adriana Varejão. Photo: Patrick Grie

On View

Nous les arbres

Through January 5, 2020
Fondation Cartier, Paris
www.fondationcartier.com

Organized around several large ensembles of works, this exhibition, whose title translates to We, the Trees, gives voice to numerous figures who have developed a strong, intimate link with trees, thereby revealing the beauty and biological wealth of these great protagonists of the living world, threatened today with large-scale deforestation. Work by Giuseppe Penone and Adriana Varejão is included.

Adriana Varejão, Cadernos de viagem: Yãkoana, 2003 © Adriana Varejão. Photo: Patrick Grie

Adriana Varejão, Testemunhas oculares X, Y e Z, 1997 © Adriana Varejão. Photo: Eduardo Ortega

On View

Adriana Varejão
Otros cuerpos detrás

Through January 5, 2020
Museo Tamayo, Mexico City
museotamayo.org

This show, whose title translates to Other Bodies Behind, explores the lines of research that Adriana Varejão has developed in her artistic practice since the 1990s, bringing together work created over the past thirty years. The exhibition is structured around three different bodies of work—early figurative canvases, a selection from the series Ruínas de Charque (Jerked-Beef Ruins), and recent Polvo paintings.

Adriana Varejão, Testemunhas oculares X, Y e Z, 1997 © Adriana Varejão. Photo: Eduardo Ortega

Adriana Varejão, Ruína de Charque - Nova Capela (Nova Capela Jerked-Beef Ruin), 2003 (detail) © Adriana Varejão

On View

Adriana Varejão in
Innenleben

Through March 29, 2020
Haus der Kunst, Munich
hausderkunst.de

This show, whose title translates to Interiorities, explores the increasing externalization of the interior as we actively publish details of our private lives on social media and invite others to scrutinize, share, and rate them. The exhibition investigates how the artists in the show use the interior as a framework to find images for multifaceted identities. Work by Adriana Varejão is included.

Adriana Varejão, Ruína de Charque - Nova Capela (Nova Capela Jerked-Beef Ruin), 2003 (detail) © Adriana Varejão

Adriana Varejão, Parede com Incisões à la Fontana—Horizontal (Wall with Incisions à la Fontana—Horizontal), 2009–11 © Adriana Varejão. Photo: Jaime Acioli

On View

Adriana Varejão in
Home Is a Foreign Place

Through June 21, 2020
Met Breuer, New York
www.metmuseum.org

This exhibition features a diverse group of paintings, sculptures, installations, and videos made between 1944 and 2016 that explore artistic engagements with language, architecture, space, politics, and media. The thematic installation asks viewers to reconsider what it means to make a home in the world, whether by chance, necessity, or choice. Work by Adriana Varejão is included.

Adriana Varejão, Parede com Incisões à la Fontana—Horizontal (Wall with Incisions à la Fontana—Horizontal), 2009–11 © Adriana Varejão. Photo: Jaime Acioli

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Press

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