News / Announcements


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, Cores Polvo, 2019 © Adriana Varejão

Related News

Adriana Varejão, Paraty, 2011 © Adriana Varejão. Photo: Vicente de Mello 

In Conversation

Adriana Varejão, Bernardo José de Souza, Sofía Hernández Chong Cuy

Saturday, January 25, 2020, 5–6pm
Witte de With, Rotterdam, Netherlands

On the occasion of the group show An exhibition with works by . . . at Witte de With in Rotterdam, Adriana Varejão will share personal perspectives on her work in the show and discuss the exhibition’s themes of historical conquest and the transformation of cultural identity. She will be joined by guest curator Bernardo José de Souza, and Witte de With director Sofía Hernández Chong Cuy. The event is free to attend.

Adriana Varejão, Paraty, 2011 © Adriana Varejão. Photo: Vicente de Mello 

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

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, 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

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

Albert Oehlen, Untitled, 2019, watercolor on canvas, 83 ⅞ × 72 ⅛ inches (213 × 183 cm).

Albert Oehlen: Maximum Chance Maximum Control

The artist met with art historian Christian Malycha to discuss his newest paintings.

Cover of the Winter 2019 Gagosian Quarterly, featuring a selection from a black-and-white Christopher Wool photograph

Now available
Gagosian Quarterly Winter 2019

The Winter 2019 issue of Gagosian Quarterly is now available, featuring a selection from Christopher Wool’s Westtexaspsychosculpture series on its cover.

Still from the video Giuseppe Penone at Fort Mason showing the artist's 2004 sculpture Idee di pietra (Ideas of Stone) installed at Fort Mason in San Francisco.

Giuseppe Penone at Fort Mason

A yearlong outdoor installation by Giuseppe Penone in San Francisco’s historic Fort Mason features two life-size bronze sculptures cast from fallen trees. The project continues the artist’s long investigation of the perpetual give-and-take between humans and nature. In this video, Penone discusses what drew him to this landscape and the concepts behind the installation.

Tatiana Trouvé, Between sky and earth, 2012–.

Tatiana Trouvé: In Time

In upstate New York, Jenny Jaskey discovers Tatiana Trouvé’s Between sky and earth. Begun in 2012, this multifaceted installation exists as a crucial nexus in the artist’s career, both a result of her ongoing practice and a generative source for continuing investigations.

Sally Mann and Edmund de Waal at the Frick Collection, New York, November 8, 2019.

In Conversation
Edmund de Waal and Sally Mann

Sally Mann joins Edmund de Waal onstage at the Frick Collection in New York to converse about art, writing, and the importance of place in their respective bodies of work. 

Theaster Gates, Paris, 2019.

Theaster Gates: Amalgam

Theaster Gates’s exhibition Amalgam explores the social histories of migration and interracial relations by highlighting the specific history of the Maine island of Malaga. Here, William Whitney considers the exhibition in relation to Gates’s ongoing art practices and social commitments.

A photograph of the Casa Malaparte house in Capri, Italy.

Casa Malaparte: A House Like Ourselves

Wyatt Allgeier explores the legacy of Curzio Malaparte and corresponds with the avant-garde author’s youngest descendant, Tommaso Rositani Suckert, on the subject of his decision to reproduce select pieces of furniture from the iconic Casa Malaparte in Capri, Italy.

Installation view of Giuseppe Penone’s exhibition at Gagosian, San Francisco. A bronze sculpture and a wall-mounted sculpture including leaves.

Giuseppe Penone: Foglie di bronzo / Leaves of Bronze

Gagosian director Pepi Marchetti Franchi speaks about Giuseppe Penone’s recent exhibition in San Francisco, detailing the various works and their relationships to the artist’s long-standing sculptural practice.

Rachel Feinstein in her West 15th Street studio, New York, 2002.

Rachel Feinstein

The artist discusses her life and work with Alan Yentob.

Huma Bhabha during the installation of Huma Bhabha: The Company at Gagosian, Rome, September 2019.

Work in Progress
Huma Bhabha

The artist tells Negar Azimi about her interest in the monstrous, the influence of science fiction on her practice, and her recent rooftop commission at the Metropolitan Museum of Art, New York.

Edmund de Waal and Jan Dalley, FT Weekend Festival, London, September 7, 2019

In Conversation
Edmund de Waal and Jan Dalley

At the FT Weekend Festival 2019 in London, Edmund de Waal sat down for a conversation with Financial Times arts editor Jan Dalley. They spoke about the relationship between words and sculpture in his practice, and about two recent projects: the two-part exhibition psalm, in Venice, and Elective Affinities, at the Frick Collection, New York.

A black-and-white photograph of a woman's face by Dora Maar.

Discovering Dora Maar

Brigitte Benkemoun’s book Je suis le carnet de Dora Maar takes a novel approach to the art of biography. For the Quarterly, Benkemoun recounts her discovery of a mysterious Hermès address book, the subsequent realization of its genius former owner, and her journey to learn more about the life, friends, and art of Dora Maar.