Adriano Costa

Adriano Costa (1975, São Paulo, Brazil) studied at the School of Communication and Arts of the University of São Paulo.

In his research, the artist starts from the narrative potential of everyday objects and forms to develop, provoking a tension between humor and political subjects, comments from apparently arbitrary combinations. The breadth of its composition modes and arrangements of disparate and unexpected elements present a delicate formal balance, while its anti-monumental proposal has the influence of denying the hierarchies and separations that we attribute to fragments of our material and conceptual culture, in a critical position to the contemporary world.

He has held solo exhibitions and participated in collective exhibitions in international museums, including: Kölnischer Kunstverein, Cologne, Germany (2018); Tomie Ohtake Institute, São Paulo, Brazil (2018); Seattle Art Museum, Seattle, USA (2017); Lothringer13 Halle, Munich, Germany (2017); Fundación Jumex Arte Contemporáneo, Mexico City, Mexico (2015); The Modern Institute, Glasgow, United Kingdom (2015); Guggenheim Museum, New York, USA (2014); Musee D’Art Contemporain de Lyon, France (2014); Imagine Brazil, Astrup Fearnley Museet, Oslo, Norway (2013); International Biennial of Curitiba, Brazil (2013); Brazilian Sculpture Museum, São Paulo, Brazil (2013); Rumos Artes Visuais, Itaú Cultural, São Paulo (2012, 2011); São Paulo Cultural Centre (2010); Whitechapel Art Gallery, London, United Kingdom (2007).

His work is represented in international museum collections such as Solomon R. Guggenheim Museum, New York, USA; Zabludowicz Collection, London, UK; Pinacoteca do Estado de São Paulo, São Paulo; Sandretto Re Rebaudengo Collection, Turin, Italy; Fundação de Serralves, Porto, Portugal, and Boros Collection, Berlin, Germany.

Costa was chosen to represent his hometown, São Paulo, in the publication Art Cities of the Future: 21st century Avant-Gardes (Phaidon, 2013) and in the publication Desdobramentos Da Pintura Brasileira Séc. XXI (Cobogó, 2012), an essay on Brazilian painting in the extended field.

 

Pedro Sequeira