Leitura: 2 min
Adriana Varejão and History
My narrative is a web of stories. Stories about bodies, architecture, Brazil, tattoo, ceramics, old tiles, Portuguese tiles, modern and vulgar tiles, books, maps, painting.
And more: a cheap bar in Lapa, a corner of Macau, a swimming pool in Budapest, ruins in Chacahua, a wall in Lisbon, a cloister in Salvador, a Turkish bath in Paris 18th district, a delicate Song vase, a sentence in a book, a market in Taxco, a tattooed skin, a black angel in Minas, a shard in Barcelona, India ink in Guilim, a butchers shop in Copacabana, a chrysanthemum in Cachoeira, a piece of news in the paper, a mirror in Tlacolula, a bus station restroom, a Chinese bird in Sabará, the sound of an acoustic guitar, a tile in Queluz, jerked beef in Caruarú, a sentence from the past, a painting in New York, votive offerings in Maceió, a shade of red in Madrid, a sento in Kyoto, and more, and more
Adriana Varejão on how she relates to the word history.
In 2008, Inhotim opened one of its most emblematic pavilions, a milestone of the profound relationship between art, architecture and landscaping in the Institute. Galeria Adriana Varejão shelters six works by the artist. These works express her array of interests and variety of sources of research. Inhotim has invited Adriana Varejão to come to Belo Horizonte on May 24 to take part in the Space, Work and History Seminar. Click here to check out the detailed program for this event.