“Land on a public helipad installed horizontally in relation to the Earth’s axis, without the noisy aircraft that ascends vertically carrying millionaires, executives, reporters, police officers, controls coming from the airspace guaranteed by those who intend to dominate the celestial.

Landing obliquely without wavering like free people from controls, superiors, and their buzzing is to experience silences, even in the midst of a babel. Silence not as the mere absence of lingering noises, but to hear the silence.

Entering the Vermelho through Lia Chaia’s helipad is to experience its inverted path, upside down to bodies, cities, and Dionysus, following exciting rhizomes that ceaselessly nest and expand in the air, through the walls.”

Excerpt from “Via Invertida” by Edson Passetti

“Land on a public helipad installed horizontally in relation to the Earth’s axis, without the noisy aircraft that ascends vertically carrying millionaires, executives, reporters, police officers, controls coming from the airspace guaranteed by those who intend to dominate the celestial.

Landing obliquely without wavering like free people from controls, superiors, and their buzzing is to experience silences, even in the midst of a babel. Silence not as the mere absence of lingering noises, but to hear the silence.

Entering the Vermelho through Lia Chaia’s helipad is to experience its inverted path, upside down to bodies, cities, and Dionysus, following exciting rhizomes that ceaselessly nest and expand in the air, through the walls.”

Excerpt from “Via Invertida” by Edson Passetti

In “Verticidade”, from 2006, the artist addresses the feeling of vertigo caused by urban chaos, through an inclined plane made with collages of building facades.

Minhocão, 2006, is a video in which the artist regurgitates images of buildings around the Elevado Costa e Silva, a viaduct of about 3 km that connects the west zone to the city center of São Paulo. Built in 1970, Minhocão is a disastrous work that has degraded the urban landscape. Currently, the viaduct works on Sundays as a park, reversing the daily opposition between those who drive by car, at the top, producing noise very close to the windows of the buildings, and the pedestrians and homeless residents who live under the overpass. […] In the video, the artist resembles a giant that swallowed buildings and now returns them to the world. This modification of the scale, somewhat surreal, would be a dream of intervention and alteration of the city and, at the same time, the awareness of the effective impossibility of its transformation from a single subject, even more so in a metropolis of enormous size like São Paulo, that seems to swallow everything.

_{Excerpt from “One swallows the other” – Cauê Alves, 2007, for the catalog of the 10th Istanbul Biennial – Istanbul – Turkey, 2007}

In Trepadeiras series made up of six photographs (2006), Chaia presents images of the transformation of vegetation, according to the variation of the seasons, on a wall occupied by climbing plants, photographed over a period of six months. On the images, the artist drew with dry point, vines in the opposite direction of the photographed images.

In Trepadeiras series made up of six photographs (2006), Chaia presents images of the transformation of vegetation, according to the variation of the seasons, on a wall occupied by climbing plants, photographed over a period of six months. On the images, the artist drew with dry point, vines in the opposite direction of the photographed images.