Search
Filters
Close

Tiago Carneiro da Cunha

Tiago Carneiro da Cunha was born in 1973 in São Paulo and currently lives in Rio de Janeiro.

In 1998, the Brazilian government awarded him with the Apartes/Capes scholarship, which allowed him to obtain his post-graduation degree in Visual Arts at Goldsmiths College in London, where he received teachings from Chapman Brothers, Pierre Bismuth and Liam Gillick, among other artists. Since then, he held solo exhibitions at Galeria Fortes Vilaça (São Paulo), the Kate MacGarry Gallery (London) and the Misako & Rosen Gallery (Tokyo - Erika Verzutti), and participated in group exhibitions in various museums and galleries around the world.

His most recent exhibitions and noteworthy include the "Law of the Jungle" - of which he was appointed curator by Lehmann Maupin Gallery, New York, 2010 - and "New Work: Tiago Carneiro da Cunha and Klara Kristalova", which is currently at the San Francisco Museum of Modern Art SFMOMA.

His work is presented in public and private collections, such as the Gilberto Chateaubriand collection (Museu de Arte Moderna, Rio de Janeiro), the Saatchi collection (United Kingdom) as well as at Thyssen-Bornemisza TB21 Museum (Austria). In 2009, the Guest Artist at the Fine Arts University, in Philadelphia and in 2012 he participated, as guest speaker, of the Ciclo de Palestras da Bienal Capacete/São Paulo.

Filter by attributes
  • No of collection's pieces
  • 250

Bizantino Com Fumaça

As the long-time admirer that I am of the Bordallo’s work, I wanted to take the opportunity of this project to meet more closely one of my favourite sculptures of Bordallo Pinheiro: the "Byzantine Cat". I simply started retracing with my finger the patterns of the surface, still damp, of the Cat fresh out of the mould, as a way to study the topography of the piece, and gradually added to it elements of the sculptural language that I explore in my own work. I emphasized these effects by using the wonderful drained glazes of the BP factory and - finally - I proposed the inversion of the original use of the piece, turning it from a spittoon into a censer, i.e. from a downward (liquid) movement to an upward (smoky) movement. It was a great pleasure to develop this sculpture based on a work I admire so much, and to be able to count on the support of the wonderful staff of the BP Factory in this work: thanks again, everyone!