David Kordansky Gallery

  • Adriano Costa
DearMeatCutsDevilMayCry July 23 — August 27, 2016

  • Installation view
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  • Installation view
  • Installation view
  • Celine, 2016, bronze, American flag, clothes, bamboo, sugarcane and various found objects, 67 x 103 x 19 inches (170.2 x 261.6 x 48.3 cm)
  • Celine, 2016, (alternate view) bronze, American flag, clothes, bamboo, sugarcane and various found objects, 67 x 103 x 19 inches (170.2 x 261.6 x 48.3 cm)
  • Celine, 2016, (detail) bronze, American flag, clothes, bamboo, sugarcane and various found objects, 67 x 103 x 19 inches (170.2 x 261.6 x 48.3 cm)
  • TheKingOfAllTacos, 2016, UV print, acrylic and pen on canvas, 52 x 64 inches (132.1 x 162.6 cm)
  • TheKingOfAllTacos, 2016, (detail) UV print, acrylic and pen on canvas, 52 x 64 inches (132.1 x 162.6 cm)
  • TheKingOfAllTacos, 2016, (detail) UV print, acrylic and pen on canvas, 52 x 64 inches (132.1 x 162.6 cm)
  • OldFashioned/Trava, 2016, silver, 3 x 2 x 2 inches (7.6 x 5.1 x 5.1 cm)
  • OldFashioned/Trava, 2016, (alternate view) silver, 3 x 2 x 2 inches (7.6 x 5.1 x 5.1 cm)
  • OldFashioned/Trava, 2016, (alternate view) silver, 3 x 2 x 2 inches (7.6 x 5.1 x 5.1 cm)
  • MisticismoHistórico, 2016, silver and jewelry display pedestal, 3 1/2 x 3 1/2 x 3 1/2 inches (8.9 x 8.9 x 8.9 cm)
  • MisticismoHistórico, 2016, (alternate view) silver and jewelry display pedestal, 3 1/2 x 3 1/2 x 3 1/2 inches (8.9 x 8.9 x 8.9 cm)
  • MisticismoHistórico, 2016, (alternate view) silver and jewelry display pedestal, 3 1/2 x 3 1/2 x 3 1/2 inches (8.9 x 8.9 x 8.9 cm)
  • MisticismoHistórico, 2016, (alternate view) silver and jewelry display pedestal, 3 1/2 x 3 1/2 x 3 1/2 inches (8.9 x 8.9 x 8.9 cm)
  • SpiritualityInContemporaryArt, 2016, UV print on bath mat, canvas and styrofoam, overall: 24 1/2 x 56 1/4 x 1 1/2 inches (62.2 x 142.9 x 3.8 cm)
  • SpiritualityInContemporaryArt, 2016, (alternate view) UV print on bath mat, canvas and styrofoam, overall: 24 1/2 x 56 1/4 x 1 1/2 inches (62.2 x 142.9 x 3.8 cm)
  • SpiritualityInContemporaryArt, 2016, (detail) UV print on bath mat, canvas and styrofoam, overall: 24 1/2 x 56 1/4 x 1 1/2 inches (62.2 x 142.9 x 3.8 cm)
  • SpiritualityInContemporaryArt, 2016, (detail) UV print on bath mat, canvas and styrofoam, overall: 24 1/2 x 56 1/4 x 1 1/2 inches (62.2 x 142.9 x 3.8 cm)
  • Prèt-A-Porter, 2016, steel, copper and shrink wrap, 3/8 x 90 x 90 inches (1 x 228.6 x 228.6 cm)
  • Prèt-A-Porter, 2016, (alternate view) steel, copper and shrink wrap, 3/8 x 90 x 90 inches (1 x 228.6 x 228.6 cm)
  • Prèt-A-Porter, 2016, (detail) steel, copper and shrink wrap, 3/8 x 90 x 90 inches (1 x 228.6 x 228.6 cm)
  • Prèt-A-Porter, 2016, (detail) steel, copper and shrink wrap, 3/8 x 90 x 90 inches (1 x 228.6 x 228.6 cm)
  • WeDeserveAJob, 2016, UV print, spray paint, acrylic and pastel on canvas, 63 x 109 inches (160 x 276.9 cm)
  • WeDeserveAJob, 2016, (detail) UV print, spray paint, acrylic and pastel on canvas, 63 x 109 inches (160 x 276.9 cm)
  • WeDeserveAJob, 2016, (detail) UV print, spray paint, acrylic and pastel on canvas, 63 x 109 inches (160 x 276.9 cm)
  • Statement, 2016, mixed media, 122 x 149 x 7 1/2 inches (309.9 x 378.5 x 19.1 cm)
  • Statement, 2016, (alternate view) mixed media, 122 x 149 x 7 1/2 inches (309.9 x 378.5 x 19.1 cm)
  • Statement, 2016, mixed media, (detail) 122 x 149 x 7 1/2 inches (309.9 x 378.5 x 19.1 cm)
  • Statement, 2016, mixed media, (detail) 122 x 149 x 7 1/2 inches (309.9 x 378.5 x 19.1 cm)
  • HydroponicCosmogonia, 2016, mixed media mounted on wood, 59 x 38 x 2 1/4 inches (149.9 x 96.5 x 5.7 cm)
  • HydroponicCosmogonia, 2016, (alternate view) mixed media mounted on wood, 59 x 38 x 2 1/4 inches (149.9 x 96.5 x 5.7 cm)
  • HydroponicCosmogonia, 2016, (detail) mixed media mounted on wood, 59 x 38 x 2 1/4 inches (149.9 x 96.5 x 5.7 cm)
  • BigBangPsychedelicCheese, 2016, powder coated steel, 1 1/2 x 129 x 130 inches (3.8 x 327.7 x 330.2 cm)
  • BigBangPsychedelicCheese, 2016, (alternate view) powder coated steel, 1 1/2 x 129 x 130 inches (3.8 x 327.7 x 330.2 cm)
  • BigBangPsychedelicCheese, 2016, (alternate view) powder coated steel, 1 1/2 x 129 x 130 inches (3.8 x 327.7 x 330.2 cm)
  • BigBangPsychedelicCheese, 2016, (detail) powder coated steel, 1 1/2 x 129 x 130 inches (3.8 x 327.7 x 330.2 cm)
  • BigBangPsychedelicCheese, 2016, (detail) powder coated steel, 1 1/2 x 129 x 130 inches (3.8 x 327.7 x 330.2 cm)
  • Statements, 2016, UV print on canvas, 84 1/2 x 40 1/2 inches (214.6 x 102.9 cm)
  • Statements, 2016, (detail) UV print on canvas, 84 1/2 x 40 1/2 inches (214.6 x 102.9 cm)
  • Statements, 2016, (detail) UV print on canvas, 84 1/2 x 40 1/2 inches (214.6 x 102.9 cm)
  • Hammurabi4, 2016, chalk and blackboard paint on skateboards, overall: 31 1/4 x 15 3/8 x 1/2 inches (79.4 x 39.1 x 1.3 cm)
  • Hammurabi4, 2016, (detail) chalk and blackboard paint on skateboards, overall: 31 1/4 x 15 3/8 x 1/2 inches (79.4 x 39.1 x 1.3 cm)
  • Installation view
  • Flag, 2016, UV print on paper bag, fabric and stones, 13 3/4 x 7 x 4 inches (34.9 x 17.8 x 10.2 cm)
  • Flag, 2016, (alternate view) UV print on paper bag, fabric and stones, 13 3/4 x 7 x 4 inches (34.9 x 17.8 x 10.2 cm)
  • Flag, 2016, (detail) UV print on paper bag, fabric and stones, 13 3/4 x 7 x 4 inches (34.9 x 17.8 x 10.2 cm)
  • TheButcher'sArms, 2016, spray paint and leather mounted on wood, 78 x 58 x 2 1/2 inches (198.1 x 147.3 x 6.4 cm)
  • TheButcher'sArms, 2016, (detail) spray paint and leather mounted on wood, 78 x 58 x 2 1/2 inches (198.1 x 147.3 x 6.4 cm)
  • TheButcher'sArms, 2016, (detail) spray paint and leather mounted on wood, 78 x 58 x 2 1/2 inches (198.1 x 147.3 x 6.4 cm)
  • Wishes, 2016, UV print on fabric, 59 1/2 x 98 inches (151.1 x 248.9 cm)
  • Wishes, 2016, (detail) UV print on fabric, 59 1/2 x 98 inches (151.1 x 248.9 cm)
  • Wishes, 2016, (detail) UV print on fabric, 59 1/2 x 98 inches (151.1 x 248.9 cm)
  • OnceThereWasMusicOn, 2016, metal flake lacquer on found objects, 48 x 108 x 29 1/2 inches (121.9 x 274.3 x 74.9 cm)
  • OnceThereWasMusicOn, 2016, (alternate view) metal flake lacquer on found objects, 48 x 108 x 29 1/2 inches (121.9 x 274.3 x 74.9 cm)
  • OnceThereWasMusicOn, 2016, (detail) metal flake lacquer on found objects, 48 x 108 x 29 1/2 inches (121.9 x 274.3 x 74.9 cm)
  • OnceThereWasMusicOn, 2016, (detail) metal flake lacquer on found objects, 48 x 108 x 29 1/2 inches (121.9 x 274.3 x 74.9 cm)
  • OnceThereWasMusicOn, 2016, (detail) metal flake lacquer on found objects, 48 x 108 x 29 1/2 inches (121.9 x 274.3 x 74.9 cm)
  • PostInternetIsJustInternet/LouisUGotMePhone, 2016, acrylic and UV print on canvas, 117 x 64 inches (297.2 x 162.6 cm)
  • PostInternetIsJustInternet/LouisUGotMePhone, 2016, (detail) acrylic and UV print on canvas, 117 x 64 inches (297.2 x 162.6 cm)
  • PostInternetIsJustInternet/LouisUGotMePhone, 2016, (detail) acrylic and UV print on canvas, 117 x 64 inches (297.2 x 162.6 cm)
  • BackyardPainting, 2016, acrylic and flowers on blanket, 73 1/2 x 46 1/4 x 1/8 inches (186.7 x 117.5 x .3 cm)
  • BackyardPainting, 2016, (alternate view) acrylic and flowers on blanket, 73 1/2 x 46 1/4 x 1/8 inches (186.7 x 117.5 x .3 cm)
  • BackyardPainting, 2016, (detail) acrylic and flowers on blanket, 73 1/2 x 46 1/4 x 1/8 inches (186.7 x 117.5 x .3 cm)
  • BackyardPainting, 2016, (detail) acrylic and flowers on blanket, 73 1/2 x 46 1/4 x 1/8 inches (186.7 x 117.5 x .3 cm)
  • We'reGonnaChangeTheWorld, 2016, tools, acrylic and UV print on blanket mounted on wood, 80 1/2 x 72 1/2 x 8 inches (204.5 x 184.2 x 20.3 cm)
  • We'reGonnaChangeTheWorld, 2016, (alternate view) tools, acrylic and UV print on blanket mounted on wood, 80 1/2 x 72 1/2 x 8 inches (204.5 x 184.2 x 20.3 cm)
  • We'reGonnaChangeTheWorld, 2016, (detail) tools, acrylic and UV print on blanket mounted on wood, 80 1/2 x 72 1/2 x 8 inches (204.5 x 184.2 x 20.3 cm)
  • We'reGonnaChangeTheWorld, 2016, (detail) tools, acrylic and UV print on blanket mounted on wood, 80 1/2 x 72 1/2 x 8 inches (204.5 x 184.2 x 20.3 cm)
  • RottenCheeseLettuceAndASliceOfTomato, 2016, t-shirt, fabric and acrylic on plywood panel, 74 x 47 x 2 1/8 inches (188 x 119.4 x 5.4 cm)
  • RottenCheeseLettuceAndASliceOfTomato, 2016, (detail) t-shirt, fabric and acrylic on plywood panel, 74 x 47 x 2 1/8 inches (188 x 119.4 x 5.4 cm)
  • RottenCheeseLettuceAndASliceOfTomato, 2016, (detail) t-shirt, fabric and acrylic on plywood panel, 74 x 47 x 2 1/8 inches (188 x 119.4 x 5.4 cm)
  • Hammurabi3, 2016, UV print on cardboard, 36 x 72 3/4 x 1/8 inches (91.4 x 184.8 x .3 cm)
  • Hammurabi3, 2016, (alternate view) UV print on cardboard, 36 x 72 3/4 x 1/8 inches (91.4 x 184.8 x .3 cm)
  • Hammurabi3, 2016, (detail) UV print on cardboard, 36 x 72 3/4 x 1/8 inches (91.4 x 184.8 x .3 cm)
  • PostInternet, 2016, mixed media on paper, 16 x 11 inches (40.6 x 27.9 cm)
  • Yoga3, 2016, mixed media on toilet paper tube, 4 x 5 1/4 inches (10.2 x 13.3 cm)
  • Pear, 2016, acrylic and pen on cardboard and toilet paper tube, 6 3/4 x 10 inches (17.1 x 25.4 cm)
  • Yoga, 2016, mixed media on toilet paper tube, 4 x 5 1/4 inches (10.2 x 13.3 cm)
  • TwoBoysSawOnTheInternet, 2016, mixed media on paper, 8 1/4 x 10 3/8 inches (21 x 26.4 cm)
  • Sodoma, 2016, mixed media on found cardboard, 25 x 14 1/4 inches (63.5 x 36.2 cm)
  • Arnold,TheMayor, 2016, mixed media on paper, 12 x 9 inches (30.5 x 22.9 cm)
  • HotYoga, 2016, mixed media on toilet paper tube, 3 3/8 x 9 1/2 inches (8.6 x 24.1 cm)
  • AGuyPayingTheBills, 2016, mixed media on found cardboard, 9 3/4 x 6 1/8 inches (24.8 x 15.6 cm)
  • JackInTheBox, 2016, mixed media on paper, 11 3/4 x 8 1/2 inches (29.8 x 21.6 cm)
  • Landscape, 2016, mixed media on fabric, 9 1/2 x 9 1/2 inches (24.1 x 24.1 cm)
  • Hammurabi2, 2016, acrylic and UV print on canvas, 58 x 64 inches (147.3 x 162.6 cm)
  • Hammurabi2, 2016, (detail) acrylic and UV print on canvas, 58 x 64 inches (147.3 x 162.6 cm)
  • Hammurabi2, 2016, (detail) acrylic and UV print on canvas, 58 x 64 inches (147.3 x 162.6 cm)
  • LedZeppelin, 2016, mixed media on paper receipt, 3 1/4 x 7 5/8 inches (8.3 x 19.4 cm)
  • AbstractBurgers, 2016, mixed media on paper, 4 1/8 x 11 inches (10.5 x 27.9 cm)
  • HappyBuddha, 2016, mixed media on toilet paper tube, mounted on museum board, 11 x 3 1/2 x 1/8 inches (27.9 x 8.9 x .3 cm)
  • Arnold,TheMayor2, 2016, mixed media on toilet paper tube, 5 3/8 x 3 7/8 inches (13.7 x 9.8 cm)
  • Business, 2016, mixed media on toilet paper tube, 3 3/4 x 10 inches (9.5 x 25.4 cm)
  • PartyLads, 2016, mixed media on paper, 4 x 11 inches (10.2 x 27.9 cm)
  • Yoga2, 2016, mixed media on toilet paper tube, 4 x 5 1/4 inches (10.2 x 13.3 cm)
  • CopsYoga, 2016, mixed media on toilet paper tube, 5 3/8 x 3 7/8 inches (13.7 x 9.8 cm)
  • WhenInRome, 2016, UV print on foamcore, 54 x 72 5/8 x 1 1/2 inches (137.2 x 184.5 x 3.8 cm)
  • WhenInRome, 2016, (alternate view) UV print on foamcore, 54 x 72 5/8 x 1 1/2 inches (137.2 x 184.5 x 3.8 cm)
  • WhenInRome, 2016, (detail) UV print on foamcore, 54 x 72 5/8 x 1 1/2 inches (137.2 x 184.5 x 3.8 cm)
  • GratefulDeadFungus, 2016, mixed media on paper, 8 1/4 x 11 3/4 inches (21 x 29.8 cm)
  • Peace, 2016, mixed media on paper, 11 1/2 x 8 1/4 inches (29.2 x 21 cm)
  • Party, 2016, mixed media on paper, 11 1/2 x 8 1/4 inches (29.2 x 21 cm)
  • Desperation, 2016, mixed media on postcard, 4 1/8 x 5 7/8 inches (10.5 x 14.9 cm)
  • Harvard, 2016, mixed media on found cardboard, 9 1/4 x 9 5/8 inches (23.5 x 24.4 cm)
  • Beef, 2016, mixed media on paper, 5 1/4 x 8 1/4 inches (13.3 x 21 cm)
  • Mask, 2016, mixed media on found cardboard, 8 1/4 x 6 1/4 inches (21 x 15.9 cm)
  • CopyrightPoems/TheOlympics, 2016, mixed media on paper, 11 3/4 x 8 3/8 inches (29.8 x 21.3 cm)
  • Policies, 2016, chalk and acrylic on plywood, 48 x 48 x 1/2 inches (121.9 x 121.9 x 1.3 cm)
  • Policies, 2016, (detail) chalk and acrylic on plywood, 48 x 48 x 1/2 inches (121.9 x 121.9 x 1.3 cm)
  • Policies, 2016, (detail) chalk and acrylic on plywood, 48 x 48 x 1/2 inches (121.9 x 121.9 x 1.3 cm)
  • WhenAManLovesAWoman, 2016, oil, pastel and pen on paper, 13 7/8 x 17 3/4 inches (35.2 x 45.1 cm)
  • Rent!, 2016, acrylic, pastel, pencil, pen, paper and UV print on canvas, 66 x 74 1/2 x 2 inches (167.6 x 189.2 x 5.1 cm)
  • Rent!, 2016, (alternate view) acrylic, pastel, pencil, pen, paper and UV print on canvas, 66 x 74 1/2 x 2 inches (167.6 x 189.2 x 5.1 cm)
  • Rent!, 2016, (detail) acrylic, pastel, pencil, pen, paper and UV print on canvas, 66 x 74 1/2 x 2 inches (167.6 x 189.2 x 5.1 cm)
  • Rent!, 2016, (detail) acrylic, pastel, pencil, pen, paper and UV print on canvas, 66 x 74 1/2 x 2 inches (167.6 x 189.2 x 5.1 cm)
  • Malibu, 2016, mixed media on toilet paper tube, 3 7/8 x 5 1/2 inches (9.8 x 14 cm)
  • PotatoIce, 2016, mixed media on fabric, 18 1/2 x 11 3/4 inches, (47 x 29.8 cm)
  • Blessing, 2016, heat transfer on socks and trousers, blanket mounted on wood, 92 1/2 x 76 x 4 inches (235 x 193 x 10.2 cm)
  • Blessing, 2016, (alternate view) heat transfer on socks and trousers, blanket mounted on wood, 92 1/2 x 76 x 4 inches (235 x 193 x 10.2 cm)
  • Blessing, 2016, (detail) heat transfer on socks and trousers, blanket mounted on wood, 92 1/2 x 76 x 4 inches (235 x 193 x 10.2 cm)
  • Blessing, 2016, (detail) heat transfer on socks and trousers, blanket mounted on wood, 92 1/2 x 76 x 4 inches (235 x 193 x 10.2 cm)
  • Beans, 2016, mixed media on paper, 9 3/4 x 7 1/2 inches (24.8 x 19.1 cm)
  • Turkeys, 2016, acrylic, pencil and pen on paper, overall: 11 1/2 x 44 1/4 inches (29.2 x 112.4 cm)
  • SpiritualityInContemporaryArt3, 2016, UV print on wood, 8 1/4 x 10 1/2 x 1/2 inches (21 x 26.7 x 1.3 cm)
  • Misery, 2016, oil and pen on paper, 14 x 17 3/4 inches (35.6 x 45.1 cm)
  • It'sRainingPenises, 2016, mixed media on found cardboard, 6 1/4 x 9 7/8 inches (15.9 x 25.1 cm)
  • Venus, 2016, mixed media on paper, 11 1/2 x 8 1/4 inches (29.2 x 21 cm)
  • SpiritualityInContemporaryArt2, 2016, UV print on found object, 40 1/8 x 60 x 1/8 inches (101.9 x 152.4 x .3 cm)
  • SpiritualityInContemporaryArt2, 2016, (alternate view) UV print on found object, 40 1/8 x 60 x 1/8 inches (101.9 x 152.4 x .3 cm)
  • SpiritualityInContemporaryArt2, 2016, (detail) UV print on found object, 40 1/8 x 60 x 1/8 inches (101.9 x 152.4 x .3 cm)
  • SpiritualityInContemporaryArt2, 2016, (detail) UV print on found object, 40 1/8 x 60 x 1/8 inches (101.9 x 152.4 x .3 cm)

David Kordansky Gallery is pleased to announce DearMeatCutsDevilMayCry, an exhibition of new work by Adriano Costa. The artist’s first solo show in the United States, it will open on July 23 and remain on view through August 27, 2016. An opening reception will be held on Saturday, July 23 from 6:00pm until 8:00pm.


Adriano Costa culls his materials from the detritus of contemporary existence. He weaves together poetic tableaux from objects and images generally regarded as ephemeral, accidental, or discarded. In his work these forms find new life while retaining markers of their disvalued state, allowing the artist to hold up a mirror to the social divisions, the pervasive dread, and the paradoxical, fallen beauty that characterize life in the first quarter of the 21st century. Costa’s practice often involves working on site in whatever city his next exhibition will take place, and he combines materials foraged from the urban landscape of his native São Paolo with those he finds in his temporary adopted homes. DearMeatCutsDevilMayCry will therefore reflect the booming and broken dream-state that is Los Angeles, the political and economic disasters facing Brazil at a moment when it is very much on the world stage, and the perennially decaying cornucopia of information that is the Internet, where a large part of the global population currently maintains a second residence.


The exhibition features works made using a wide range of processes, and includes paintings, works on paper, and a diversity of sculptures, though it is impossible to relegate any given piece to a single one of these categories. Costa’s approach to installation reinforces this notion. Works that might ordinarily be placed on the floor are suspended from the wall and vice versa, and almost all are replete with imagery and text that speak to the moment of their creation.


A hanging bath mat, canvas fragment, and the top of a styrofoam to-go box, for instance, bear printed dates in the style of On Kawara: “22 JUL 2016″, “23 JUL. 2016” and “24 JUL 2016″, the day before, of, and just after the exhibition’s opening. In this case, as in several others, cutting-edge digital printing techniques are applied to the most humble and abject of materials. Similarly, in many sculptures Costa combines durable media like steel and aluminum with ad hoc objects and unstable substances that are the very definition of impermanence. He thereby undermines traditional notions of value, and highlights unsustainable attitudes toward luxury in a world brimming with deprivation.


Despite the pressing contemporaneity that characterizes his work, Costa is also an astute descendant of the rich art historical traditions particular to Brazilian modernism. These include Neo-Concretism and Antropofagia, a movement that originated in the 1920s and celebrated the cannibalization of Eurocentric cultural forms, reimagining and distorting them from a South American position at the geographical periphery. Such reference points help situate Costa’s affinity for consuming the stuff of world culture and regurgitating it according to the unavoidable particularities of his own sensibility, as well as the compositional decentralization that informs each of his works and his exhibitions as a whole. If the products of this regurgitation are notable for their aesthetic subtleties, and a finely tuned sensitivity to geometry, color, and volume, Costa’s is an aesthetic in crisis, one in which formal decisions feel inevitable rather than planned, and works are not finished so much as posed as ongoing questions. As such, his aesthetic is inseparable from the pertinent extra-aesthetic issues of the age, including income inequality, the constant threat of reactionary politics, and the authoritarian abuse of power, as well as the fact of the artist’s own queerness, all of which he allows to saturate his work even as he eschews polemics.


Costa instead delights in uneasy contradiction and slack humor, both of which are on view in a work on canvas featuring appropriated images of a muscle-bound Arnold Schwarzenegger in his beefcake prime. Equal parts digital collage, political commentary, studio painting, and agitprop-style provocation, the work is like a Google image search gone wrong, with decidedly non-digital interventions (doodles, scrawled marks, erasures) registering the emotional timbre of the artist’s response to the political and ideological climate of California, where originality is indistinguishable from artifice. Slapdash painted text reads “Muscular / Committed / Refugee / Versatile / Indigenous”, speaking to the troublesome social hierarchies in a state where the line separating Muscle Beach from the governor’s mansion is as porous as Swiss cheese.


The image of Swiss cheese, incidentally, plays an important and recurrent role in Costa’s practice. It appears in this exhibition in the form of a sculpture consisting of a grid of aluminum tiles, punctuated by irregularly shaped openings that give way to the floor below. Easily trod underfoot, its holes both pornographic and purely spatial, the sculpture’s radically low profile renders it at once inconspicuous and pervasive, dependent on the space in which it is installed, and yet stubbornly insistent on claiming its own territory within that space.


In this way Costa incorporates his surroundings at every turn, whether that means responding to the news dominating the media, reacting to the environments in which his work is shown, or making use of objects he acquires as he moves through a given city. A new work of the latter sort plays a key part in DearMeatCutsDevilMayCry. By applying an industrial, glittering gold finish to a group of found objects, including a bass drum, a walker, and a vacuum cleaner all acquired at a thrift store within close proximity to the gallery, Costa has created an unlikely family of stand-ins for the contemporary human subject. Bathed in visual symbolism indicative of the promise of easy wealth, and yet divorced from the purposes of their own labor, the objects hang together by the slightest of conceptual threads, united by surface alone as their usefulness disintegrates. With this exhibition opening less than two weeks before the already fraught spectacle of the 2016 Summer Olympics in Rio de Janeiro, works like these channel the corruption and despair, the crumbling nostalgia, and the specters of disease, that are, despite their ominous undertones and overtones, inexhaustible sources of life as we know it now.


Adriano Costa (b. 1975, São Paolo) was recently the subject of the solo exhibitions Draw Flying Penis/Pussy Against Gentrification, White Cubicle Toilet Gallery, London (2015); Tia Deth (with Stefania Batoeva), Emalin, London (2015); and La Commedia dell’Arte, Peep-Hole, Milan (2014). Recent group exhibitions include What separates us, Embassy of Brazil in London (2016); Volcano Extravaganza 2015, Fiorucci Art Trust, Stromboli, Italy (2015); Real Painting, Castlefield Gallery, Manchester, United Kingdom (2015); Under the Same Sun: Art From Latin America Today, Guggenheim Museum, New York (2014, traveling); Postcodes, Casa de Povo, São Paulo (2014); IMAGINE BRAZIL, Astrup Fearnley Museet, Oslo, and Musée D’Art Contemporain de Lyon, France (2013, traveling); Time Space Poker Face, Be-Part, Waregem, Belgium (2013); and Correspondências, Instituto Tomie Ohtake, São Paolo (2013). Costa lives and works in São Paolo.