This solo exhibition is a major anthology offering the opportunity to delve into the complex and poetic work of Bunga. It includes artworks from the Helga de Alvear Collection, works specially produced for the exhibition, as well as a site-specific monumental piece created in situ. In it, Bunga understands the spectator as another element of the installation: his experience integrates the work itself and transforms it.

For his first solo show in Brazil, Bunga presents new works made during his trip to this country, right before the exhibition, accompanied by new in-situ installations. It showcases key elements of the his research, after more than 20 years expanding on the possibilities of painting and forging close relationships with architecture, installation, video, and performance. 

A temporary cardboard structure in the Koski Gallery of the Sarasota Art Museum. Beginning and ending as a dialogue with the existing architecture, this installation transforms the gallery’s spatial configuration for the duration of the exhibition. By deploying light as his primary conceptual basis, just as James Turrell has done before him, Bunga explains that he sculpts light, which cannot be touched, but only felt viscerally.

Bunga’s first major anthological exhibition in Spain. It reflects on the temporalities of nature, its shelters and its living and organic qualities.

An extension of Bunga’s exhibition Contra la extravagancia del deseo at the Palacio de Cristal. From that project, Bunga created new works, including drawings, photographs and videos registering his performance and building process, shown alongside remnants of the installation.

Carlos Bunga presented his first solo show in a gallery in Portugal, at Galeria Vera Cortês. Photographs, videos, paintings, sculptures and drawings filled the space, halfway between his home and his studio.

Bunga’s exhibition at Hammer Museum brought together past drawings, paintings, sculptures, and videos, and the new site-specific construction “Landscape”.