Adriana Varejão

Available artworks

Adriana Varejão - Extirpação do mal por punção

Extirpação do mal por punção

óleo e agulhas de acupuntura sobre tela
1994
200 x 240 cm
Leilão de Arte Online

Biography

Adriana Varejão (Rio de Janeiro, RJ - 1964)

Adriana Varejão
Adriana Varejão

Painter.

Adriana Varejão is a contemporary artist who has been gaining more and more prominence in the national and international arena. The artist, who became famous through her visceral works, torn skin, exposed interiors, cannibalism and dismemberment, is beginning to tread new paths. She is currently one of the most prominent Brazilian artists on the contemporary scene, in Brazil and abroad. Born in 1964, Adriana, from Rio de Janeiro, began her career in the 1980s, when she was still very young. Between 1981 and 1985, she attended independent courses at the Escola de Artes Visuais do Parque Lage, in Rio de Janeiro, and held her first solo exhibition in 1988, at the Thomas Cohn gallery. The daughter of an air force pilot and a nutritionist, she took a preparatory course for college entrance exams at Colégio Impacto. She went on to study engineering at PUC. In the meantime, she took art courses. And that was it. “I think one day I woke up and became an artist,” she jokes. She rented a studio and began to produce.

"I didn't think about whether or not I would be able to make a living from my art. I was living, doing things, discovering my language. I wasn't worried about whether or not I would exhibit, how much I would earn, or who my gallery owner would be. I tell students this when I give lectures. I see people very concerned about the result. That's not the way it is. You just have to find your voice. And finding that language, according to her, is never easy. It's a lot of suffering. Every time you look at a blank canvas you truly believe that you won't have any more ideas, that you'll be blocked. The creative process is painful."

In the 1990s, she was included in numerous important exhibitions and gradually revealed the maturity of her work. Her participation in the São Paulo Biennial in 1994 and 1998; the Havana Biennial (1994) and Johannesburg Biennials stand out. (1995) and Liverpool (1999). Adriana was also one of the central figures of the Sydney Biennale (2000), in addition to the group shows UltraBaroque (USA, 2000-2002), TransCulture (Venice; Tokyo, 1995), New Histories (ICA, Boston, 1996), Mapping (MoMA-NY, 1994).

Her work reproduces historical and cultural elements, with themes linked to colonization, the Baroque and tilework. She also investigates the use of the human body, viscerality and the representation of flesh as an aesthetic element. Despite referring to the Baroque, it acquires a strong contemporary feel due to the excessive accumulation of materials, layers of paint and information.

“Painting is my root, just like Brazil”

Adriana Varejão's symbolic density is so great that it shocks viewers, but at the same time it is responsible for gaining increasing admiration and respect in the international art scene.

Her works are part of the collections of the world's leading museums and have achieved record prices at auction houses in London and New York, attesting to her international recognition. In Brazil, Adriana gained a pavilion entirely dedicated to her work at the Inhotim Institute, in Minas Gerais.

Critical Commentary

In the late 1980s, Adriana Varejão produced canvases with thick layers of paint, using Brazilian baroque churches and their tiles as a parameter, as in Altar I, 1987. Later, she began to appropriate images from the history of Brazil, returning to ethnographic representations of indigenous people and black people, such as, for example, the illustrations from the book Viagem Pitoresca e Histórica ao Brasil, by Debret (1768 - 1848), to comment on the process of miscegenation in the country and the violence of the colonization process. The artist thus explores the repertoire of images related to the Brazilian Colonial Period: tiles, maps and travelers' records.

In other works, she uses shards of china and plates from the Companhia das Índias, which are molded and painted by the artist, as in Linha do Equinócio II, 1997. Adriana Varejão also makes incisions and sutures in her canvases, as in Filho Bastardo II, 1997 or Parede com Incisões a la Fontana, 2000, in which, through the cuts, she reveals an internal matter, which has the appearance of flesh. She also reproduces anatomical fragments in her paintings, making references to dismemberment and cannibalism, in works of great symbolic density.

Critiques

The space of pictorial representation proposed by Adriana Varejão aims to capture the multi-faceted gaze of the spectator, which theater and cinema usually demand of them, so that they can witness moving images that run after, on a stage or screen, a discursive performance. However, in Adriana's case, the staging process makes the simultaneous weight of the composite image so excessive that it leads it to delegitimize the properly discursive demand of the stagings conducted by the temporal succession of images. There is narrative in Adriana's paintings, although there is no discourse in them, in the linguistic sense of the word.
Her narrative is that of “a river without discourse”; to use the image of João Cabral de Melo Neto. (...) The shape of the tile – whether intact or chipped, it doesn’t matter – is always “breaking into pieces” (JCMN) the powerful intentions of any discursive effort. Therefore, in each minute and throughout the entire time of contemplation, no point of view assumed by the spectator is the final one, demanding sovereignty over the others. In a play or film, the moving images lead the spectators from start to finish until – as happens in Hollywood films – the happy ending. This is not the case with the multi-programmed mise-en-scène through overlapping and simultaneity effects, proposed by Adriana’s pieces. (...)
Silviano Santiago
Excerpt from the book "Entre Carnes e Mares"

Adriana Varejão's works explore implicit and untold stories, creating a type of critical historiography (...) in which the pastiche of academic portraits illuminates what was hidden from the violent experience of the female universe in colonial Brazil. The obliterated violence returns in the staged relationship between the paintings — the external and official images — and the glass eyes whose interiors are stamped with other images — internal and private — less idyllic behind the censorship of the visible. (...) The flesh that emerges from Adriana Varejão's walls is not Merleau-Ponty's tranquil "flesh" (viande) that founded the encounter between the subject's body and the body of the world and that touched each other in Cézanne's brushstroke on the canvas; here we are dealing with flesh of desire (chair) in cruel movement (raw, bloody and relentless) that project themselves into space with sensual and invasive force, as in Azulejaria verde em carne viva (2000), without revealing anything beyond the wound in shapeless texture.
Karl Erik Schøllhammer
Excerpt from the book "Entre Carnes e Mares"

It is possible to say that the tiles pave, tile and fill the work of Adriana Varejão. Pavement in the path; pavement that binds these fabrics of stories that are gradually unraveled with each new phase, with each challenge. Adriana, like a bricoleur, collects fragments of stories and translates them into others. Like the ancient watchmakers, the artist starts from what she finds and develops her project from there. (...) Adriana starts from what she has: she spreads, reassembles and creates, based on narratives that she patiently collects, rereads and remakes. We know that every translator is a traitor, and Adriana acts in the style of Chinese boxes. She opens a box inside another, and turns her work into a sea of stories.
Lilia Moritz Schwartz
Excerpt from the book "Entre Carnes e Mares"

Adriana Varejão's Saunas e Banhos series immediately refers to the very genesis of the space of painting in the Western tradition, that is, to the construction of a pictorial space through the representation of the perspective of architectural structures.
In Saunas e Banhos, light is the metaphor of the time during which man exists in the world. It is an event, a phenomenon, a duration. As a phenomenon, light preexists and subsists upon man. It represents Nature as the Absolutely Great, timeless and infinite, and, as a metaphor, it is indifferent to its constitution and origin. The presence of light contrasted with human absence in Adriana's paintings alludes to that sublime Nature manifested in its permanence and which shelters man in his state of impermanence. (...) The sheltering spaces of Adriana's paintings are based on absences that essentially reveal the clash between the outside (the world, Nature, the Absolutely Great) and the inside (the subject, the shelter, the Absolutely Small).
In the voids of these recent canvases by Varejão, in the colors that insinuate themselves through the cracks of light in the tiles, the viewer is invited to suspend their expectations, to let themselves be captured by the nuances of that which has no name and, above all, to waste time looking.
Zalinda Cartaxo
Excerpt from the book "Entre Carnes e Mares"

Bringing the Baroque to the contemporary scene, Varejão restores to the agenda a painting that is not afraid of artifice, illusion, the delirious and sensual game with appearance.
Luiz Camillo Osório
Excerpt from the book "Entre Carnes e Mares"

The large Plates revisit the maritime convulsion of Adriana's Baroque, now no longer as a mesh, nor as movement, but as the fertile space of creation-recreation-birth. The convulsive sea – of the melted or deformed figures of the Baroque, in shadows and transparencies that drowned in waves of colors, stains and watery molds – is also in Celacanto, in the Azulejões, but in a violent, abstract, decomposed way. A great sea in which the song (of the sirens?) causes a tidal wave. The tidal wave of Adriana's tiles hides mermaids that appear in the Plates in explicit figures; crazy, drunk, beautiful, twisted. (...) Adriana explores the materiality of paint and the surface of canvases and other supports, constructing narratives that intersect throughout her trajectory, mainly through two elements: flesh and the seas. Mixing one and the other, a baroque quality, in the profusion of colors (or shades of blue, in the case of Azulejões) and the carnality-viserality of the gesture. Adriana's seas are carnal, and her flesh bursts in crashing waves.
Isabel Diegues
Excerpt from the book "Entre Carnes e Mares"

Interview

"Visual Arts is not a question of talent. You don't need to be a technical prodigy, like Nelson Freire or Mozart. It is an adult language, which depends on knowledge, cultural background, sensitivity. It is linked to thought, to creativity".
Adriana Varejão to Personalité Magazine, No. 2, MARCH 2008, YEAR I

"I try not to construct any discourse, I give narrative clues for the person to introduce their own narrative. There are works from the series Ruínas de charque (below, Ruína de charque Caruaru, 2000, oil on wood and polyurethane), with simulations of pieces of wall with this an allusion to the flesh inside, destroyed, with tears in the canvas. The cuts appeared because I used to work with a lot of materiality, a lot of paint on the canvas. I came into contact with the Barraco mineiro, a very visceral style, whose emblem is the sacred bleeding heart, the wounds, everything very theatrical. When I paint flesh, I refer a little to the Baroque, to the history of painting itself, because Goya painted flesh, Rembrandt too – there’s The Quartered Ox, Anatomy Class –, Gericault, Francis Bacon. So I talk about the history of painting, and not about flesh directly, but about Goya’s painting, Caravaggio’s, that finger in the wound, which has always been a very strong image in my head. And the interpretation of that is sometimes more erotic, sometimes more painful.”

The beginning

Adriana Varejão: When I started a painting course, I didn’t even know that someone could make a living from painting, that it could be a profession. I remember walking into my painting teacher's house and thinking, "Wow, he's a painter, he makes a living from painting." It was a surprise to me. I wasn't familiar with that environment, much less with contemporary art. Things just happened naturally. I never planned much, I never put my desires or my plans ahead of what was happening, like "I'm going to be a professional artist." That moment never happened. I started taking painting courses out of curiosity about the subject. At that time, I was studying engineering and painting took over me, took over my space. I dedicated myself more and more to it and, naturally, I started exhibiting in a gallery – very early on, in 1988, when I had just turned 24. Work, daily life, phases Adriana Varejão: I try to keep myself in the studio, even if I go there to do nothing. In painting, as in art in general, you have to be predisposed for things to start happening, you have to let go of the world, and you can only do that after a certain number of hours. I get to the studio, do a bunch of things, stare at the painting and then I start to dive into the thing, the painting, after three or four hours there. Then the painting starts to work, to happen, things start to flow, the world becomes more and more distant, my mind stops and then I start to get into that high. The time here is not just the time for execution, but it is the time needed for my mind to disconnect a little from the events of the world, for me to be in a more or less free mental state to be able to simply look.

Interruptions, commitments

Adriana Varejão: When a daughter interrupts you in the middle of a process like this, you have to stop. Then you come back here the next day. Sometimes I'm late for my appointments when I'm in a really good mood for painting, I stay up all night. But there are days when I go into the studio and everything goes wrong, my hand, my eye, everything is wrong. There are days when I do a bunch of things and think it was brilliant, "Wow, today I solved all the problems." The next day, I go in and see that it was all crap. It varies, but now when I'm in a good mood, I feel like things are working, so I try to spend as many hours as possible painting. There have been several moments in my life when I forgot it was Saturday, Sunday, Christmas, Carnival, the World Cup.

It's a life project, a dedication, every day. The routine of coming to the studio is a constant in my life. And work is not limited to just coming to the studio to create. Those who work with creation are also constantly perceiving the world. I remember that when I started to be an artist and discovered what art was, reality changed completely, things changed, there was a freshness in everything I read, the films I watched, being there, in front of the sea, on the beach, listening to music. Everything is material for painting, for art. The artist never rests, he is on vacation, goes home and disconnects from work. There is no such dynamic. You work all the time, living, feeling, looking, listening, smelling. You are working all the time.

The series

Adriana Varejão: When I start a new series, it is a sensational event. It has a bit of that freshness from the beginning, when I started to be an artist, the freshness of discovering new places, new subjects. Saunas e banhos (2001-2009) (above the work The Guest, 2004, oil on canvas) were a bit like that, I started this series completely by chance. I opened a book on the architecture of Macau [a former Portuguese colony, the Asian peninsula became an administrative region of China on December 20, 1999] in Portugal. I was in a bookstore, started looking at a book and saw some photos of a tiled corner, a completely makeshift architecture, without the slightest importance, the book was about that. Macau looked completely like Rio de Janeiro. And I have always worked on these ideas of cultural transpositions.

A long time ago, I did an exhibition called Terra incógnita (1991-2003), which talked about a Brazilian China, always with this relationship between China and Brazil happening in my work. And that was a more contemporary idea. Then I happened to be in Paris and I started visiting the saunas in the Muslim neighborhoods, those saunas for women only. I ended up in an incredible underground sauna, all tiled. At the same time, I associated it with the bars in Rio de Janeiro, and also with the meat markets. Everything had a bit of the same functional architecture of vulgar, contemporary tiles. This type of environment began to really appeal to me. I went to Budapest, and also looked at films, like Baths [by Yang Zhang, 1999], an incredible Chinese film, which brought me the presence of swimming pools. That's more or less how it happens.

Now I've come into contact with the work of a Portuguese ceramist who lived in the late 19th century, [Rafael] Bordalo Pinheiro [also a caricaturist and journalist, who lived in Brazil between 1875 and 1879]. He ran a ceramics factory in Caldas da Rainha, Portugal, for 20 years. I've been eyeing this work for two years, and now I've gone to Lisbon to see private collections of these dishes up close. I went to Caldas da Rainha, to the house where Bordalo lived, and I bought biographies of him. I am taken, but not by research – I wouldn’t call it research, but by passion. I fall in love with a subject, a universe, a feeling and I try to build stories around it and live those things a little. The series happen a little like that.

Music

Adriana Varejão: When I was developing Azulejões (above, the painting Celacanto provoca maremoto, 2004, oil and plaster on canvas), it was a time when I was listening to a lot of samba and choro, living that very intensely. Paulo Herkenhoff looked at it and said that it had a syncopated order. I knew Baden Powell’s work – in fact, I met Baden, I went to a circle to see him play. And in “Choro para metrosnome” I had the musical translation of what that work was, of what I hoped to visually construct with that work. Not that I heard the music and wanted to do the work, but it’s when things meet, coincidences happen. I found the shape of the tilework's regular, square rhythm very coherent with the metronome, which imposes this rhythm, that solo on top of this rhythmic monotony [she imitates the choro solo with her mouth]. I saw this within my composition, which at the same time was not continuous, there was the idea of this syncopated order, made of breaks, but constructed in a melodic flow, dominated by blue. I visualized and identified a lot with that music.

Unlearning with children

Adriana Varejão: I think all children are incredible, because they go through a process of unlearning, because, artistically, they are very good, capable of making incredible associations, true installations, with no prejudice, very connected to the process. I see my daughter much more interested in mixing paints on a palette than on paper. There is a spontaneity in the approach to art, it is all so direct.

Adriana Varejão in an exclusive interview with SaraivaConteúdo

Books

Book ADRIANA VAREJAO- ENTRE CARNES E MARES - BILINGUAL – PORTUGUESE / ENGLISH
Format: Book
Author: SANTIAGO, SILVIANO
Publisher: EDITORA COBOGO
Subject: ARTS

Book ADRIANA VAREJAO – PHOTOGRAPHY AS PAINTING
Format: Book
Author: VAREJAO, ADRIANA
Publisher: ARTVIVA EDITORA
Subject: ARTS

Book ADRIANA VAREJAO – CHAMBRE D'ECHOS / ECHO CHAMBER
Format: Book
Author: VAREJAO, ADRIANA
Publisher: ACTES SUD
Subject: ARTS

“Entre carnes e mares” is the most complete book about the work of the artist from Rio de Janeiro, containing more than 170 reproductions of her paintings, as well as photographs and installations. This bilingual publication brings together her most important works and also has five critical essays by renowned authors such as Silviano Santiago, Lilia Moritz Schwarcz, Karl Erik Schøllhammer, Luiz Camillo Osorio and Zalinda Cartaxo.

This volume offers the reader a rich panorama of the artist's career, starting with her newest Pratos and going through the influences baroque, by the blue of the tiles and the seas and by the raw paintings. The incredible visual aspect of the book reflects the strength of the intense research behind the work. There are more than 170 reproductions of her paintings, in addition to photographs and installations, a large part of which are from Varejão's collection.

The book tells of a 26-year trajectory with works that refer to the Baroque, Minas Gerais tilework and the experience of being a mother. Productions never exhibited, from the 80s, and also recent ones, such as the plates, started in 2009. "This series of enormous plates, measuring one meter and sixty centimeters in height, is inspired by the ceramics of the Portuguese Rafael Bordalo Pinheiro and explores the feminine universe. This is the work that Adriana is currently dedicated to, and which was accompanied by the editor Isabel Diegues, organizer of the book. “It all started with a lecture by Adriana Varejão, given at the Guggenheim Museum in New York, based on aspects of the work, authors from different areas made their own approach to the artist's work”, explains Isabel.

Collections

Bouwfonds Kunststichting - Hoevelaken (Holland)
Centro de Arte Contemporânea Inhotim - Brumadinho MG
Culturgest - Lisbon (Portugal)
Fondation Cartier Pour l'Art Contemporain - Paris (France)
Fundación La Caixa - Barcelona (Spain)
Ghent Museum - Ghent (Belgium)
Guggenheim Museum - New York (United States)
Hara Museum of Contemporary Art - Tokyo (Japan)
Museum of Contemporary Art of San Diego - San Diego (United States)
Museum of Modern Art of Rio de Janeiro - Rio de Janeiro RJ
Museum of Modern Art of Sintra - Sintra (Portugal)
Stedelijk Museum Amsterdam - Amsterdam (Netherlands)
Tate Modern - London (England)

Awards

2013 - Mario Pedrosa Award (contemporary language artist), from the Brazilian Association of Art Critics (ABCA)
2012 - Grand Prize of Critics, Visual Arts category, from the São Paulo Association of Art Critics (APCA), for the exhibition “Histórias às margem”
2011 - Order of Cultural Merit by the Ministry of Culture of Brazil
2008 - Medal of Chevalier des Arts et Lettres from the French government

Solo Exhibitions

1988 - Rio de Janeiro RJ - Solo, at the Thomas Cohn Gallery
1991 - Rio de Janeiro RJ - Solo, at the Thomas Cohn Gallery Cohn
1992 - Amsterdam (Holland) - Solo show, at the Barbara Farber Gallery
1992 - São Paulo SP - Solo show, at the Luisa Strina Gallery
1993 - Rio de Janeiro RJ - Proposal for a Catechesis, at the Thomas Cohn Gallery
1995 - New York (United States) - Solo show, at the Annina Nosei Gallery
1996 - São Paulo SP - Painting/Suture, at the Camargo Vilaça Gallery
1996 - Amsterdam (Holland) - Solo show, at the Barbara Farber Gallery
1997 - Paris (France) - Solo show, at the Ghislaine Hussenot Gallery
1997 - Caracas (Venezuela) - Solo show, at the Sofía Imber Contemporary Art Museum
1998 - Madrid (Spain) - Solo show, at the Soledad Lorenzo Gallery
1998 - Lisbon (Portugal) - Images of Exchange, at White Pavilion of the City Museum
1999 - São Paulo SP - Joy, at the Camargo Vilaça Gallery
2000 - New York (United States) - Individual, at the Lehmann Maupin Gallery
2000 - São Paulo SP - Azulejão, at the Camargo Vilaça Gallery
2000 - Umeå (Sweden) - Individual, at the BildMuseet
2000 - Borås (Sweden) - Individual, at the Borås Konstmuseum
2001 - London (England) - Individual, at the Victoria Miro Gallery
2001 - Porto (Portugal) - Individual, at the Pedro Oliveira Gallery
2001 - Rio de Janeiro RJ - Azulejões, at the Banco do Brasil Cultural Center - CCBB
2001 - Brasília DF - Azulejões and Charques, at the CCBB
2002 - London (United Kingdom) - Individual, at the Victoria Miro gallery
2002 - Madrid (Spain) - Solo show, at the Soledad Lorenzo gallery
2002 - São Paulo SP - Solo show, at the Fortes Vilaça gallery
2003 - New York (United States) - Solo show, Lehmann Maupin
2004 - London (United Kingdom) - Saunas, at the Victoria Miro gallery
2005 - Paris (France) - Chambre d'echos, at the Fondation Cartier pour l'art Contemporain
2005 - Lisbon (Portugal) - Solo show, at the Cetro Cultural de Belém
2005 - Salamanca (Spain) - Solo show, at the DA2 gallery
2005 - São Paulo SP - Solo show, at the Fortes Vilaça gallery
2006 - Petrópolis RJ - Photography with Painting, at the Sesc de Petrópolis
2007 - Tokyo (Japan) - Solo show, at the Hara Museum of Contemporary Art Art
2008 - Brumadinho MG - Solo show, at Inhotim Contemporary Art Center
2008 - Belo Horizonte MG - Solo show, at Pampulha Art Museum
2009 - São Paulo SP - Solo show, at Fortes Vilaça Gallery
2009 - New York (United States) - Solo show, at Lehmann Maupin
2011 - London (United Kingdom) - Solo show, at Victoria Miro Gallery
2012 - São Paulo SP - Stories on the Margins, at the Museum of Modern Art
2013 - Rio de Janeiro RJ - Solo show, at the Museum of Modern Art in Rio de Janeiro
2013 - London (United Kingdom) - Solo show, at Victoria Miro Gallery

Collective Exhibitions

1984 - Rio de Janeiro RJ - 8th Salão Carioca
1985 - Rio de Janeiro RJ - To the Master with Paintings, at EAV/Parque Lage
1986 - Belo Horizonte MG - 9th National Visual Arts Salon: southeast, at the Clóvis Salgado Foundation. Palace of Arts
1987 - Rio de Janeiro RJ - 9th National Salon of Visual Arts, at Funarte - MEC acquisition award
1987 - Rio de Janeiro RJ - Novos Novos, at the Centro Empresarial Rio Art Gallery
1988 - Leverkusen (Germany) - Brasil Já, at the Morsbroich Museum
1988 - Stuttgart (Germany) - Brasil Já, at the Galerie Landesgirokasse
1989 - Amsterdam (Netherlands) - U-ABC, at the Stedelijk Museum
1989 - Cologne (Germany) - 23rd Art Cologne, at the Messehalle Koeln
1989 - Hannover (Germany) - Brasil Já, at the Sprengel Museum
1989 - Rio de Janeiro RJ - Rio Hoje, at the Museum of Modern Art of Rio de Janeiro - MAM/RJ
1989 - Rio de Janeiro RJ - Stand E 204, at Thomas Cohn Contemporary Art
1990 - Lisbon (Portugal) - U-ABC, at the José de Azeredo Perdigão Center for Modern Art, Calouste Gulbenkian Foundation
1991 - Stockholm (Sweden) - Viva Brasil Viva, at Liljevalchs Konsthall
1991 - Rio de Janeiro RJ - Solo show, at the Thomas Cohn Gallery
1991 - Rio de Janeiro RJ - Process No. 738.765-2, at EAV/Parque Lage
1992 - Rio de Janeiro RJ - Brazilian Contemporary Art, at EAV/Parque Lage
1992 - Rio de Janeiro RJ - Brazilian Contemporary Art, at the Sérgio Milliet Gallery
1993 - Mexico City (Mexico) - From Rio to Rio, at the Gallery OMR
1993 - Rio de Janeiro RJ - Erotic Art, at MAM/RJ
1993 - São Paulo SP - 23rd Panorama of Current Brazilian Art, at the Museum of Modern Art of São Paulo - MAM/SP
1993 - São Paulo SP - Brazilian Contemporary Art, at MAC/USP
1994 - Havana (Cuba) - 5th Havana Biennial
1994 - New York (United States) - Mapping, at MoMA
1994 - Rio de Janeiro RJ - The Powers of the Organic, at the Castro Maya Museums. Museum of the Reservoir
1994 - São Paulo SP - 22nd International Biennial of São Paulo, at the Bienal Foundation
1995 - Belem PA - ~Art Salon of Pará, at the Romulo Maiorana Foundation
1995 - Berlin (Germany) - Havana/São Paulo, at the Haus der Kulturem der Welt
1995 - Mexico City (Mexico) - Viajeros del Sur - A View of Mexico, at the Carrillo Gil Museum
1995 - Curitiba PR - 11th Engraving Exhibition of the City of Curitiba, at the Engraving Museum
1995 - Johannesburg (South Africa) - 1st Johannesburg Biennial
1995 - Okayama (Japan) - TransCulture, at the Benesse House Naoshima Contemporary Art Museum
1995 - Rio de Janeiro January RJ - Libertinos/Libertários, at Funarte
1995 - São Paulo SP - Collective, at Galeria Camargo Vilaça
1995 - Venice (Italy) - TransCulture, at the 46th Venice Biennale, at Palazzo Giustinian Lolin1
1996 - Boston (United States) - New Histories, at The Institute of Contemporary Art
1996 - Copenhagen (Denmark) - 96 Containers: art across the oceans
1996 - Paris (France) - Avant-Premiére d´un Musée - Le Musée d´Art Contemporain de Gand, at The Institute Néerlandais
1996 - Paris (France) - Collective, at Galerie Ghislaine Hussenot
1996 - Rio de Janeiro RJ - Guignard: the artist's choice, at Paço Imperial
1996 - São Paulo SP - Excess, at Paço das Artes
1997 - Curitiba PR - Contemporary Art of Engraving, at MuMA
1997 - London (England) - Lines from Brazil, at Whitechapel Art Gallery
1997 - Mexico (Mexico) - Asi Está la Cosa: art object and installations from Latin America, at Centro Cultural Arte Contemporáneo
1997 - Porto Alegre RS - 1st Mercosul Visual Arts Biennial, at Mercosul Visual Arts Biennial Foundation
1997 - Porto Alegre RS - Cartographic Aspect, at Usina do Gasômetro
1998 - Aachen (Germany) - Der Brasilianische Blick, Gilberto Chateaubriand Collection, at Ludwig Forum für Internationale Kunst
1998 - Berlin (Germany) - Der Brasilianische Blick, Gilberto Collection Chateaubriand, at the Haus der Kulturen der Welt
1998 - Caracas (Venezuela) - From the Body: Allegories of the Feminine, at the Museo de Bellas Artes
1998 - Mexico City (Mexico) - Situationism - A Group of Photographs, at the OMR Gallery
1998 - Geneva (Switzerland) - The Edge of Awareness, at the World Health Organization Headquarters
1998 - New York (United States) - The Edge of Awareness, at the United Nations Building
1998 - Rio de Janeiro RJ - The Image of Sound by Caetano Veloso, at the Paço Imperial
1998 - Rio de Janeiro RJ - Brazilian Contemporary Art - One and the Other, at the Centro Cultural Banco do Brasil - CCBB
1998 - São Paulo SP - 24th International Biennial of São Paulo, at the Fundação Bienal
1998 - São Paulo SP - Camargo Vilaça Bis, at the Camargo Vilaça Gallery
1998 - São Paulo SP - Frontiers, at the Itaú Cultural
1998 - São Paulo SP - The Contemporary in the Artistic Production of Brazil and Portugal, at the CCSP
1999 - Belo Horizonte MG - Inconfidência Mineira - Images of Freedom, at the Palace of Arts
1999 - Mexico City (Mexico) - Five Continents and One City, at the City Museum
1999 - Heidenheim (Germany) - Der Brasilianische Blick, Gilberto Chateaubriand Collection, at the Kunstmuseum Heidenheim
1999 - Liverpool (England) - 1st Liverpool Biennial of Contemporary Art, at the Tate Gallery
1999 - Rio de Janeiro RJ - The Image of Sound by Chico Buarque, at the Imperial Palace
1999 - Rio de Janeiro RJ - Foundry in Repair, at Fundição Progresso
2000 - Buenos Aires (Argentina) - Brazil: plural and singular, at the Museum of Modern Art
2000 - Caracas (Venezuela) - Common Territory, Diverse Views: Latin American artists in the 20th century, at Espacios Unión
2000 - Curitiba PR - 12th Engraving Exhibition City of Curitiba. Marks of the Body, Folds of the Soul
2000 - Lisbon (Portugal) - Brazil + 500 Rediscovery Exhibition. Contemporary Art, at the Calouste Gulbenkian Foundation
2000 - Lisbon (Portugal) - Brazil 2000 - An Entire Ocean to Swim in, at Culturgest
2000 - Lisbon (Portugal) - Berardo Collection, at the Belém Cultural Center
2000 - Lisbon (Portugal) - 20th Century: Art from Brazil, at the José de Azeredo Perdigão Center for Modern Art
2000 - London (England) - Raw, at the Victoria Miro Gallery
2000 - Madrid (Spain) - El Enigma de lo Cotidiano, at the Casa de América
2000 - Madrid (Spain) - Versiones del Sur, at the Museo Nacional Centro de Arte Reina Sofía
2000 - Rio de Janeiro RJ - The Image of Sound by Gilberto Gil, at the Paço Imperial
2000 - Rio de Janeiro RJ - New Acquisitions from the Gilberto Chateaubriand Collection, at MAM/RJ
2000 - San Diego (United States) - Ultra Baroque: aspects of contemporary Latin American art, at the Museum of Contemporary Art San Diego
2000 - São Paulo SP - Brazil + 500 Mostra do Rediscovery, at the Bienal Foundation
2000 - São Paulo SP - Cá Entre Nós, at Paço das Artes
2000 - São Paulo SP - Idéia Coletiva, at Galeria Camargo Vilaça
2000 - Sydney (Australia) - 12th Sydney Biennale
2001 - Conpenhagen (Denmark) - New Settlements, at the Copenhagen Art Center
2001 - Fort Worth (United States) - Ultra Baroque: aspects of contemporary Latin American art, at the Modern Art Museum of Fort Worth
2001 - Granada (Spain) - El Final del Eclipse: el arte de América Latina en la transition to the XXI century
2001 - Madrid (Spain) - El Final del Eclipse: el arte de América Latina en la transition to the XXI century, at Fundación Telefonica
2001 - New York (United States) - Brazil: body and soul, at the Solomon R. Guggenheim Museum
2001 - Rio de Janeiro RJ - 9th Universidarte, at Universidade Estácio de Sá. Maria Martins Gallery
2001 - Rio de Janeiro RJ - Blind Mirror: selections from a contemporary collection, at Paço Imperial
2001 - Rio de Janeiro RJ - The Spirit of Our Age, at MAM/RJ
2001 - San Diego (United States) - Ultra Baroque, Museum of Contemporary Art
2001 - San Francisco (United States) - Ultra Baroque, at San Francisco Museum of Modern Art
2001 - São Paulo SP - Blind Mirror: selections from a contemporary collection, at MAM/SP
2001 - São Paulo SP - The Spirit of Our Age, at MAM/SP
2001 - São Paulo SP - Rotativa Fase 1, at Galeria Fortes Vilaça
2001 - São Paulo SP - Trajectory of Light in Brazilian Art, at Itaú Cultural
2001 - Washington (United States) - Virgin Territory: women, gender, and history in contemporary Brazilian art, at the National Museum of Women in the Arts
2002 - Badajoz (Spain) - The end of the eclipse: Latin American art in the transition to the 21st century, at MEIAC
2002 - Mexico City (Mexico) - The end of the eclipse: Latin American art in the transition to the 21st century
2002 - Madrid (Spain) - The end of the eclipse, at the Fundacion Telefónica
2002 - Madrid (Spain) - Arco/2002, at the Juan Carlos I Fair Park
2002 - Minneapolis (United States) - Paths of the contemporary, at the Walker Art Center
2002 - Miami (United States) - Paths of the contemporary, at the Miami Art Museum
2002 - New York (United States) - Time, at the MoMA
2002 - Rio de Janeiro RJ - Walking with Faith..., at Galeria Sesc Copacabana
2002 - Rio de Janeiro RJ - Artefoto, at CCBB
2002 - Rio de Janeiro RJ - Paths of the Contemporary 1952-2002, at Paço Imperial
2002 - Rio de Janeiro RJ - Identities: the Brazilian portrait in the Gilberto Chateaubriand Collection, at MAM/RJ
2002 - Rio de Janeiro RJ - Painting from the 80s, at Sala MAM-Cittá América
2002 - São Paulo SP - Paralela, at the Warehouse located at Avenida Matarazzo, 530
2002 - Toronto (Canada) - Ultrabaroque: aspects of post-Latin American Art, at the Art Gallery of Ontario
2002 - Toronto (Canada) - Paths of the contemporary, at the Art Gallery of Ontario
2002 - Salamanca (Spain) - El Final of the Eclipse: the art of Latin America in the transition to the 21st century at CCBB
2003 - Buenos Aires (Argentina) - El Final del Eclipse: el arte de América Latina en la transition al siglo XXI Contemporain
2003 - Prague (Czech Republic) - 1st Biennale of Prague
2003 - Monterrey (Mexico) - The End of the Eclipse: Latin American Art in the Transition to the 21st Century
2003 - Rio de Janeiro RJ - Children's, at A Gentil Carioca
2003 - São Paulo SP - Skin, Soul, at the Banco do Brasil Cultural Center
2003 - São Paulo SP - 28th Panorama of Brazilian Art, at MAM/SP
2003 - São Paulo SP - The New Geometry, at Galeria Fortes Vilaça
2003 - São Paulo SP - The Subversion of the Media, at Itaú Cultural
2003 - São Paulo SP - Tomie Ohtake in the Spiritual Web of Brazilian Art, at the Institute Tomie Ohtake
2003 - Umeå (Sweden) - Overview: highlights from the collections of Fondation Cartier pour l'Art Contemporain, at BildMuseet
2004 - Curitiba PR - Tomie Ohtake in the Spiritual Web of Brazilian Art: exhibition celebrating the artist's 90th birthday, at the Oscar Niemeyer
2004 - Kyoto (Japan) - Brazil: body nostalgia, at the National Museum of Modern Art in Kyoto
2004 - Recife PE - Museu de Arte Moderna Collection Aloísio Magalhães: donations, at Mamam
2004 - Recife PE - Panorama of Brazilian art 2003, at MAMAM
2004 - Lima (Peru) - El Final del Eclipse: el Latin American art in the transition to the 21st century
2004 - Montreal (Canada) - We Come in Peace...histories of the Americas, at the Museé d'Art Contemporain de Montreal
2004 - Quito (Ecuador) - Baroque Strategies: Brazilian contemporary art, at the Centro Cultural Metropolitano de Quito
2004 - Rio de Janeiro RJ - The Iconic Face of Brazilian Art, at MAM/RJ
2004 - Rio de Janeiro RJ - Education, Look!, at the A Gentil Carioca gallery
2004 - Rio de Janeiro RJ - 28th Panorama of Brazilian Art, at Paço Imperial
2004 - Rio de Janeiro RJ - Brazilian Contemporary Art in the Rio Collections, at MAM/RJ
2004 - Rio de Janeiro RJ - New Acquisitions 2003: Gilberto Chateubriand Collection, at MAM/RJ
2004 - Rio de Janeiro RJ - Tomie Ohtake in the Spiritual Web of Brazilian Art, at MNBA
2004 - Rio de Janeiro RJ - Yanomami: the spirit of the forest, at CCBB
2004 - Santa Fe (United States) - V SITE Santa Fe
2004 - São Paulo SP - Summer Bazaar, at Galeria Fortes Vilaça
2004 - São Paulo SP - The Price of Seduction: from the corset to silicone, at Itaú Cultural
2004 - São Paulo SP - The Biennials: a look at Brazilian production, at Galeria Bergamin
2004 - São Paulo SP - The End of the Eclipse: Latin American art in the transition to the 21st century
2004 - Santiago (Chile) - The End of the Eclipse: Latin American art in the transition to the 21st century XXI
2004 - Tokyo (Japan) - Brazil: body nostalgia, at the National Museum of Modern Art
2005 - Miami (United States) - Portraits: 2,000 years of latin american portraits, at the Bass Museum Of Art
2005 - New York (United States) - Collective, at El Museo del Barrio
2005 - Porto Alegre RS - 5th Mercosul Visual Arts Biennial
2005 - San Diego (United States) - inSite_05: Farsites: urban crisis and domestic symptoms in recent contemporary art
2005 - Salamanca (Spain) - Barrocos y Neobarrocos: el infierno do bello, at the DA2 gallery
2005 - San Diego (United States) - Portraits, at the Museum of Art
2005 - São Paulo SP - The Body in Brazilian Contemporary Art, at Itaú Cultural
2005 - Thun (Sweden) - (Hi)story, at the Kunstmuseum Thun
2005 - Washington (United States) - Portraits: 2,000 years of Latin American portraits, at the Smithsonian Institution
2006 - Belém PA - 25th Pará Art Salon
2006 - Belém PA - Traces and Transitions of Brazilian Contemporary Art, at the Casa das Onze Janelas Cultural Space
2006 - Helsinki (Finland) - ARS 06 Kiasma, at the Museum of Contemporary Art
2006 - Liverpool (United Kingdom) - 4th Liverpool Biennial
2006 - San Antonio (United States) - Portraits: 2,000 years of Latin American portraits, at the San Antonio Museum of Art
2006 - São Paulo SP - Fortes Vilaça at Choque Cultural, at Galeria Choque Cultural
2006 - São Paulo SP - Radical Maneuvers, at CCBB
2006 - São Paulo SP - Paralela 2006, at Pavilhão dos Estados
2006 - Tokyo (Japan) - Collection of the Fondation Cartier pour l'art contemporain, at the Museum of Contemporary Art
2007 - Melbourne (Australia) - Guggenheim Collection, 1940s to Now, at the National Gallery of Victoria
2007 - New York (United States) - Global Feminism, at the Brooklyn Museum of Art
2007 - New York (United States) - Latin American Art: myth & reality, Nassau County Museum of Art
2007 - Rio de Janeiro RJ - More Precious than Silver, at Caixa Cultural
2007 - São Paulo SP - Itaú Contemporâneo: arte no Brasil 1981 - 2006, at Itaú Cultural
2007 - São Paulo SP - Project Wall 10 years, at MAM/SP
2007 - São Paulo SP - 80 - 90: modern, post-modern, etc, at the Tomie Ohtake Institute
2007 - Japan (Tokyo) - Adriana Varejão, at the Hara Museum of Contemporary Art
2008 - Bucharest (Romania) - 3rd Bucharest Biennial
2008 - São Paulo SP - Laços do Olhar, at the Tomie Ohtake Institute
2008 - São Paulo SP - Embroidering Art, at the Pinacoteca do Estado
2008 - Rio de Janeiro RJ - Poetics of perception, at the Museum of Modern Art of Rio de Janeiro
2009 - São Paulo SP - Nudes, at the Gallery Fortes Vilaça
2009 - Madrid (Spain) - Return. Latin American Art and Memory, at the Casa de América
2009 - Milan (Italy) Latin Americas. The Fatigue of Wanting, at the Spazio Oberdan
2009 - Lisbon (Portugal) - Drawings: A - Z, at the City Museum
2009 - Sines (Portugal) - From Malangatana to Pedro Cabrita Reis. Works from the Caixa Geral de Depósitos Collection, Sines Arts Center, Sines, Portugal
2009 - Tibães (Portugal) - From Malangatana to Pedro Cabrita Reis. Works from the Caixa Geral de Depósitos Collection, at the São Martinho Monastery
2009 - Caldas da Rainha (Portugal) - From Malangatana to Pedro Cabrita Reis. Works from the Caixa Geral de Depósitos Collection, at the Cultural and Congress Center
2010 - São Paulo SP - Ten Years of the Mam Photography Collectors Club, at the Museum of Modern Art
2010 - São Paulo SP - War Games, at the Marta Traba Gallery
2010 - São Paulo SP - Paralela, at the Lyceum of Arts and Crafts
2010 - São Paulo SP - Excerpts from a Collection, at the Ricardo Camargo Gallery
2010 - Niterói RJ - New Acquisitions 2009, at the Museum of Contemporary Art
2010 - Ecatepec de Morelos (Mexico) - El Gabinete Blanco, at the Fundación/Colección Jumex
2010 - New York (United States) - Law of the Jungle, at the Lehmann Maupin Gallery
2010 - Rio de Janeiro RJ - If Painting Died MAM is a Heaven!, at the Museum of Modern Art
2010 - São Paulo SP - 6th Sp-Arte, at the Bienal Foundation
2011 - São Paulo SP - 7th Sp-Arte, at the Bienal Foundation
2011 - London (United Kingdom) - Testing Ground | Time Scale, at Zabludowicz Collection
2011 - Lisbon (Portugal) - Mappamundi, at Foundation of Modern and Contemporary Art
2011 - Valencia (Spain) - Giant by its own nature, at Valencian Institute of Modern Art
2011 - Recife PE - Vestiges of Brazilianness, at Santander Cultural
2011 - Cascais (Portugal) - The last first decade, at Ellipse Foundation Art Centre
2011 - São Paulo SP - Vieira da Silva/Arpad Szenes and ruptures of space in Brazilian art, at Institute Tomie Ohtake
2011 - Paris (France) - Tous cannibals, at Maison Rouge. Fondation Antoine de Galbert
2011 - Berlin (Germany) - All cannibals, at the Collectors Room
2011 - Istanbul (Turkey) - 12th International Istanbul Biennial
2011 - São Paulo SP - Destricted.br, at Galeria Fortes Vilaça
2011 - São Paulo SP - Photographers of the contemporary scene, at MAC/USP
2011 - Ribeirão Preto SP - The Dream Collector, at Instituto Figueiredo Ferraz
2011 - Rio de Janeiro RJ - War Games: confrontations and convergences in Brazilian contemporary art, at Caixa Cultural
2012 - São Paulo SP - 6th Sp-Arte/foto, at Shopping JK Iguatemi
2012 - Lisbon (Portugal) - Outdoor Project|P-28
2012 - Porto (Lisbon) - Outdoor Project|P-28
2012 - Brasília DF - Amazon: Cycles of Modernity, at the Banco do Brasil Cultural Center
2012 - St. Moritz (Switzerland) - St. Moritz Art Masters
2012 - Barcelona (Spain) - Cartographies, at the Fundació la Caixa
2012 - Madrid (Spain) - Cartographies, at the Fundació la Caixa
2012 - London (United Kingdom) - From the Margin to the Edge, at the Somerset House
2012 - Rio de Janeiro RJ - Amazon, Cycles of Modernity, at the CCBB
2012 - Rio de Janeiro RJ - Reflecting Mirror: Surrealism and Brazilian Contemporary Art, at the Hélio Oiticica
2013 - Imagine Brazil, Astrup Fearnley Museum, Oslo, Norway
2013 - 30x Biennial, São Paulo Biennial Foundation, São Paulo, Brazil
2013 - Correspondences, Bergamin Gallery, São Paulo, Brazil
2013 - Gulf, Fordham's Center, New York, USA
2013 - Cinematic Visions: Painting at the edge of Reality, Victoria Miro Gallery, London, UK
2013 - Vivid Brazil, S|2, New York, USA
2013 - Trajectories – Brazilian Art in the Edson Queiroz Foundation Collection, Edson Queiroz Foundation, Fortaleza, Brazil
2013 - On Painting, Atlantic Center for Modern Art (CAAM), Las Palmas de Gran Canaria, Spain
2013 - Everyday Life in Art, Santander Cultural, São Paulo, Brazil

See also