2023_bienal (2)


Rio de Janeiro, Brazil, 1993




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.

The artist is a highlight in the
35th Bienal de São Paulo – Coreografias do impossível (2023) with a large-scale installation made up of drawings, wall interventions and sculptures. Among her recent solo exhibitions are 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 has also taken part in the group shows Direito à forma, Galeria Fonte – Institut 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).