Cisneros Fontanals Art Foundation, Miami, Florida
Itaú Cultural, Brazil
Museu de Arte Moderna da Bahia, Brazil
Museu de Arte Moderna de São Paulo, Brazil
Museu de Arte Moderna do Rio de Janeiro, Brazil
Johannes Vogt, New York
Galeria Millan, São Paulo, Brazil
Tatiana Blass uses painting, sculpture, video and installation to call attention to the ways in which communication breakdown might be productive. Her practice utilizes many mediums—instruments rendered useless by wax or concrete obstructing their capabilities often factor into performances, wax figures on heating pads slowly melt over the course of an exhibition, and bronze disjointed hoofs of a horse force the viewer to envision the body removed from the artwork. She also utilizes distractions that force her viewer to question the “truth” of an artistic experience, such as a room full of wires that may or may not power an installation of television sets in the next room. Her paintings thrive in this obscurity, forcing tiny figures to traverse stormy, intimidating landscapes of abysmal color. Blass’ hypnotic illusions and conflicts demand the viewer create their own visual solution, as explanations may degrade or dissolve with time.
Blass has exhibited at institutions including Museum of Contemporary Art Denver, Colorado, Caixa Cultural, São Paulo, Museu de Arte Moderna da Bahia, Salvador, Brazil, Museu de Arte Moderna do Rio de Janeiro, Brazil, Wallraf-Richartz Museum, Cologne, Cisneros Fontanals Art Foundation, Miami, White Box Museum of Art, Beijing, and Centro Hélio Oiticica, Rio de Janeiro, among others. She participated in the 29th São Paulo Biennial, and won the Popular Vote and Jury Vote PIPA Prizes, among other awards. She has held residencies at Gasworks in London and Stiftelsen 3,14 in Norway.