In CC5/Hendrix-War (1973), the title pays homage to Jimmy Hendrix (1942-1970) and to War Heroes (1972) – third album released since his death. With the interference of some mancoquilagens, the album cover is projected on the walls and the ceiling of the room, while the soundtrack reproduces the nine songs of the record. The room … Continued
In this space, the audience is invited to enter the pool of cold water that occupies nearly the entire room, placed amid the interference of green and blue lights. In CC4/Nocagions (1973), wall projections reveal the origin of the title of the work: a double reference to John Cage (1912-1992), pioneer of aleatoric music, and … Continued
The title Maileryn is the junction of the name of one of the major icons of pop culture in the 20th century, Marilyn Monroe (1926-1962), and that of the writer Norman Mailer (1923-2007), author of her biography. In it, Mailer states that Marilyn was murdered by secret service agents of the North American government due … Continued
In the early 1970s, Hélio Oiticica collaborated with filmmaker Neville D’Almeida in the creation of a series of five pioneer installations (Quasi-Cinemas), known as BLOCO-EXPERIÊNCIAS in COSMOCOCAS – Programa in Progress. Coined by Neville, the title ‘Cosmococa’ derives from ‘cocaine’ – a psychoactive substance that alters the state of mind, here used as make-up on … Continued
In the early 1970s, Hélio Oiticica collaborated with filmmaker Neville D’Almeida in the creation of a series of five pioneer installations (Quasi-Cinemas), known as BLOCO-EXPERIÊNCIAS in COSMOCOCAS – Programa in Progress. Coined by Neville, the title ‘Cosmococa’ derives from ‘cocaine’ – a psychoactive substance that alters the state of mind, here used as make-up on … Continued
Passarinhos – de Inhotim a Demini (2008) is exposed outdoors, recovering the benches of the gallery’s terrace. The hand-painted tiles are the support to individual reproductions of more than 490 birds of different species. The work is an unfolding of the installation Pássaros da Amazônia (2003), presented in the exhibition Yanomami – Spirit of the … Continued
O colecionador (2008) is part of the Saunas series, approaching the sensual and erotic charge of these spaces. It is an unfolding of O Sonhador (2006), magnifying both its size and drawing. Here, Adriana Varejão leaves the Portuguese baroque tiles and goes towards the representation of monochromatic ceramic pieces, recurring in the construction of aseptic … Continued
The surface of Linda do Rosário (2004) makes reference to regular tiles, white ceramic squares that are often seen in aseptic environments, like kitchens and bathrooms. Painted viscera then come out of what would be the guts of this ruined wall – a feature of the Charques series, produced by the artist since the 2000s. … Continued
Celacanto provoca maremoto (2004-2008) was first presented in 1999 at Galeria Camargo Vilaça (São Paulo), in a reduced version with another title: Azulejões. It was for the exhibition held at Fondation Cartier pour l’art contemporain (France) in 2005 that Adriana Varejão conceived the current format of the work that now occupies the walls of the … Continued
In Psicopompo Cooking Crystal (2010) one can observe the construction of an image that seems to be removed from a larger, unknown context. The iron and steel gate is open, and the door is covered by magnets. In a mystical reading, gates are the representation of moments of energetic transformation, just like magnets, that also … Continued