Erika Verzutti – Alison Jacques

Three Films by Ana Mendieta

at Museum of Modern Art, New York

Erika Verzutti: The Life of Sculptures

LUMA Arles, France

Gordon Parks: Camera Portraits from the Corcoran Collection

at National Gallery of Art, Washington D.C.⁠

Carol Rhodes and Birgit Jürgenssen

at Sweetwater, Berlin

Sheila Hicks & Lenore Tawney

in Woven Histories: Textiles and Modern Abstraction, National Gallery of Canada, Ottawa

Monica Sjöö

in ‘Acts of Creation: On Art and Motherhood’, Millennium Gallery, Sheffield

Announcing Representation of Donald Locke

The artist’s first presentation will be exhibited at Frieze Masters 2024

Sheila Hicks

Josef Albers Museum Quadrat Bottrop and Kunsthalle Düsseldorf

Donald Locke

Frieze Masters, Regent’s Park, London

Donald Locke: Nexus

Atlanta Contemporary Museum of Contemporary Art, Georgia

Donald Locke

Spike Island, Bristol

Nicola L.: I Am The Last Woman Object

Camden Art Centre, London

Announcing Representation of Sagarika Sundaram

The artist’s inaugural exhibition will open in October 2025

Alison Wilding: By the Mark - and the Line below the Loaf

Heong Gallery, Downing College, Cambridge

Alison Jacques is delighted to announce ‘The Indiscipline of Sculpture’, a major solo exhibition of work by Erika Verzutti, which is on view from 2 July – 28 November 2021 at Museu de arte de São Paulo (MASP), Brazil. Curated by Adriano Pedrosa, artistic director, and André Mesquita, curator, this is Verzutti’s first solo exhibition in a Brazilian institution.

With their unique materiality and wide-ranging pool of references, Verzutti’s sculptures lend themselves to the unpredictable, refusing to accept established definitions or traditions of sculptural practice. As is suggested by the exhibition’s title, ‘The Indiscipline of Sculpture’, the Brazilian artist uses the tools and conventions of sculptural production as a means to question, often with a strong note of humour, the assumed logic of those very conventions.

Formed from a variety of media, including bronze, concrete, stone and papier mâché, Verzutti’s works are sensual and tactile, coarse and refined. With these distinctive materials, she seamlessly overlays references to disparate cultures and histories, evoking ancestry, contemporary iconography, bodies, archaeological relics and organic forms, as well as notable figures from the history of art. Scattered throughout her work are allusions to such luminaries as Tarsila do Amaral, Constantin Brancusi, René Magritte and Piero Manzoni.

At the turn of the century, Verzutti began to produce sculptures in defined families: ‘Swans’, ‘Tarsilas’, ‘Jackfruits’ and ‘Cemeteries’, amongst others. Featuring works dating from 2003–21, including a new commission created for MASP, ‘The Indiscipline of Sculpture’ distributes works from each of these independent families into seven curatorial sections, setting the groups into conversation with one another and drawing connections across Verzutti’s practice as a whole.

‘The Indiscipline of Sculpture’ coincides with Verzutti’s major exhibition at Nottingham Contemporary, her first solo presentation in a UK museum, which is on view until 31 October. The show will be accompanied by a comprehensive catalogue, published by MASP, which is edited by Pedrosa and Mesquita and features texts from Dorota Biczel, Fernanda Brenner, Paulo Herkenhoff and Ruba Katrib.

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