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Events

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, 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

Photo: Matteo D’Eletto

In Conversation

Adriana Varejão, Lilia Moritz Schwarcz, João Biehl

Friday, March 8, 2019, 12–1:30pm
Louis A. Simpson Building, Princeton University, New Jersey
brazillab.princeton.edu

Adriana Varejão has been invited to be  the first artist-in-residence at Brazil LAB at Princeton Institute for International and Regional Studies. The multidisciplinary research and teaching hub explores Brazil’s history, politics, and culture. To mark the start of the residency, Varejão will speak with anthropologists Lilia Moritz Schwarcz and João Biehl in a discussion titled “Decolonizing Art.” The event is free and open to the public.

Photo: Matteo D’Eletto

Adriana Varejão, Transbarroco, 2014 (detail)© Adriana Varejão. Photo: Mauro Pinheiro

Installation

Adriana Varejão
Transbarroco

October 19–21, 2017, 7–9pm
The Sowden House, Los Angeles
www.sowdenhouse.com

Adriana Varejão’s four-channel video installation Transbarroco (2014) will play across the facade and in the central courtyard of this extraordinary heritage building. This US premiere coincides with her first-ever West Coast exhibition, Interiors, at Gagosian Beverly Hills. To attend the free event, reserve tickets at www.gagosian.com. Space is limited and will be granted on a first-come-first-serve basis.

Adriana Varejão, Transbarroco, 2014 (detail)
© Adriana Varejão. Photo: Mauro Pinheiro

Announcements

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

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

Adriana Varejão, Ruína de Charque–Vigário Geral (Vigário Geral Jerked–Beef Ruin), 2002 (detail), Dallas Museum of Art © Adriana Varejão

Closed

Adriana Varejão in
America Will Be!: Surveying the Contemporary Landscape

April 6–September 15, 2019
Dallas Museum of Art
www.dma.org

Drawing on works from the museum’s permanent collection, this exhibition investigates the ways in which contemporary artists engage with landscapes, broadly defined, exploring how our natural and built environments intersect with our representations of ourselves and our communities. The show aims to delve into how contemporary “landscapes” might better reflect the full diversity of the people who inhabit North and South America. Work by Adriana Varejão is included.

Adriana Varejão, Ruína de Charque–Vigário Geral (Vigário Geral Jerked–Beef Ruin), 2002 (detail), Dallas Museum of Art © Adriana Varejão

Adriana Varejão, Quadro Ferido (Wounded Painting), 1992 © Adriana Varejão. Photo: Eduardo Ortega

Closed

Adriana Varejão
Por uma retórica canibal

June 28–September 8, 2019
Museu de Arte Moderna Aloísio Magalhães, Recife, Brazil
blogmamam.wordpress.com

The exhibition seeks to emphasize that Adriana Varejão was already developing research on a historical revision of colonialism long before postcolonial studies were at the center of the contemporary art debate. The show features some twenty works, made between 1992 and 2016, that refer to Salvador, Bahia, the city with the largest African heritage in Brazil and the municipality that inspired much of Varejão’s poetics. This exhibition has traveled from the Museu de Arte Moderna da Bahia in Salvador, Brazil.

Adriana Varejão, Quadro Ferido (Wounded Painting), 1992 © Adriana Varejão. Photo: Eduardo Ortega

Adriana Varejão, Big Polvo Color Wheel V, 2018 © Adriana Varejão. Photo: Jaime Acioli

Closed

Adriana Varejão in
Hinge Pictures: Eight Women Artists Occupy the Third Dimension

March 14–June 16, 2019
Contemporary Arts Center New Orleans
cacno.org

Hinge Pictures: Eight Women Artists Occupy the Third Dimension takes its name from the writings of Marcel Duchamp in his La boite verte (1934). The artists in the exhibition use formal constraint—a commitment to abstraction—to demonstrate social liberation and to confront the patrimony of European modernism. Work by Adriana Varejão is included.

Adriana Varejão, Big Polvo Color Wheel V, 2018 © Adriana Varejão. Photo: Jaime Acioli

Adriana Varejão, Proposal for a Catechesis—Part I Diptych: Death and Dismemberment, 1993 © Adriana Varejão. Photo: Eduardo Ortega

Closed

Adriana Varejão
Por uma retórica canibal

April 16–June 15, 2019
Museu de Arte Moderna da Bahia, Salvador, Brazil
www.ipac.ba.gov.br

The exhibition seeks to emphasize that Adriana Varejão was already developing research on a historical revision of colonialism long before postcolonial studies were at the center of the contemporary art debate. The show features some twenty works, made between 1992 and 2016, that refer to Salvador, Bahia, the city with the largest African heritage in Brazil and the municipality that inspired much of Varejão’s poetics.

Adriana Varejão, Proposal for a Catechesis—Part I Diptych: Death and Dismemberment, 1993 © Adriana Varejão. Photo: Eduardo Ortega

See all Museum Exhibitions for Adriana Varejão