The different offshoots of Tadáskía’s work share a throughline in her affinity with drawing. Simultaneously markings and erasures, her traces in dry pastels, colored pencil, pen or nail polish create graphic tangles that evoke fluttering beings without turning them recognizable. The torn edges of her paper supports lend a sense of continuity, like an unbound book with its pages gaining the environing space. Her wooden sculptures are akin to screens that, without separating spaces, are crossed through with poles that render them porous. This is a dance between revelation and concealment. The interaction between pictorial content and writing, common to so much of her work, produces resonance between the image and the written word while ushering in ambiguities that make fixed meaning impossible. In videos and photographs that Tadáskía calls “apparitions”, actions of disguising and transforming the depicted bodies place domestic and familiar environments in unrest.
Among her recent solo exhibitions are Tadáskía & Ana Cláudia Almeida, Fortes D’Aloia & Gabriel/Quadra, São Paulo, Brasil (2024); Tadáskía and Ana Cláudia Almeida: A Joyner/Giuffrida Visiting Artists Program, Nevada Museum of Art, Reno, USA (2024)Projects: Tadáskía , MoMA – The Museum of Modern Art, Nova York, EUA (2024);Flores e frutas, Galpão Bela Maré, Rio de Janeiro, Brazil (2023) As Parecidas, Galeria Madragoa, Lisboa, Portugal (2023); rara ocellet, Galeria Joan Prats, Barcelona, Spain (2023) e Noite dia, Sé Galeria, São Paulo, Brazil (2022). The artist was a highlight in the 35th Bienal de São Paulo – Coreografias do impossível (2023) and has also taken part in the group shows One Becomes Many, Perez Art Museum Miami, Miami, USA (2024);T he Disagreement: A Theatre of Statements, Neue Kunstverein Wien, Vienna, Austria (2024); Direito à forma, Galeria Fonte – Instituto Inhotim, Brumadinho, Brazil (2023); 37° Panorama da Arte Brasileira – Sob as cinzas, brasa, MAM – Museu de Arte Moderna de São Paulo, São Paulo, Brazil (2023); Dos Brasis, SESC Belenzinho, São Paulo, Brazil (2023); The Silence of Tired Tongues, Framer Framed, Amsterdam, Netherlands (2022) e Eros Rising: Visions of the Erotic in Latin American Art, ISLAA – Institute for Studies on Latin American Art, New York, USA (2022).
The artist has works in important public collections, such as MoMA – The Museum of Modern Art, New York, USA; The Nevada Museum of Art, Reno, EUA; Pinacoteca do Estado de São Paulo, São Paulo, Brazil Solomon R. Guggenheim Museum, New York, USA and Kadist Foundation, Paris, France.
