“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.

Uma e três casas (projeção), 2008, is the result of a study developed by Zaccagnini on the history of the three townhouses that currently house Vermelho’s main building. With the frontal survey conducted by architects before the start of the renovation that transformed the trio of houses in 2001, the artist returns the drawing to the current facade of the gallery. Uma e três casas (projeção), 2008, reveals, on the back of the same wall, inside the gallery, the original structures of the same houses.

Uma e três casas (projeção), 2008, is the result of a study developed by Zaccagnini on the history of the three townhouses that currently house Vermelho’s main building. With the frontal survey conducted by architects before the start of the renovation that transformed the trio of houses in 2001, the artist returns the drawing to the current facade of the gallery. Uma e três casas (projeção), 2008, reveals, on the back of the same wall, inside the gallery, the original structures of the same houses.

Correspondence to Juan Manuel Perdomo is a series based on a strategy that started as a bar game in 2007 and has been transformed into obsession. It is a growing body of beer labels folded, without cutting or mixing brands. Correspondence is an everyday attempt to make folds that allow other senses to enroll in a limited universe of known signs.

Correspondence to Juan Manuel Perdomo is a series based on a strategy that started as a bar game in 2007 and has been transformed into obsession. It is a growing body of beer labels folded, without cutting or mixing brands. Correspondence is an everyday attempt to make folds that allow other senses to enroll in a limited universe of known signs.

“El túnel, starting from a rather objective proposal: to find the midpoint of a tunnel that is approximately 500 meters long. Two bodies depart, each from one end of a tunnel, in opposite directions. Body A, starting from the left side of the tunnel, walks eastward. Body B, starting from the right side of the same tunnel, moves westward. If they depart at the same time and are moving at the same constant speed, will they meet at the midpoint of the tunnel? First of all, what does ‘at the same time’ mean? The two characters in the video on display should leave exactly at the same time: when it gets dark. But when does it actually get dark? When, at the beach, the outlines of the water and the sky are no longer identifiable? When the city lights come on? Or when Drummond, the poet, feels that it is night [É noite. sinto que é noite / não porque a sombra descesse [(bem me importa a face negra) / mas porque dentro de mim / no fundo de mim, o grito / se calou. Fez-se desânimo (…)]?”

Excerpt from Bifurcações e Encruzilhadas, by Thais Rivitti

“El túnel, starting from a rather objective proposal: to find the midpoint of a tunnel that is approximately 500 meters long. Two bodies depart, each from one end of a tunnel, in opposite directions. Body A, starting from the left side of the tunnel, walks eastward. Body B, starting from the right side of the same tunnel, moves westward. If they depart at the same time and are moving at the same constant speed, will they meet at the midpoint of the tunnel? First of all, what does ‘at the same time’ mean? The two characters in the video on display should leave exactly at the same time: when it gets dark. But when does it actually get dark? When, at the beach, the outlines of the water and the sky are no longer identifiable? When the city lights come on? Or when Drummond, the poet, feels that it is night [É noite. sinto que é noite / não porque a sombra descesse [(bem me importa a face negra) / mas porque dentro de mim / no fundo de mim, o grito / se calou. Fez-se desânimo (…)]?”

Excerpt from Bifurcações e Encruzilhadas, by Thais Rivitti

Sobre la igualdad y las diferencias II: a casa ao lado was created for the Cité-Action exhibition in Assenede, Belgium, in 2006. The project was developed in collaboration with archaeologists Liesbet Sablon and Sofie Geelen. It consists of an archaeological investigation of artifacts found in two uninhabited houses located on the same street in Assenede. The houses, expropriated by the municipality, remained closed for several years, retaining inside them the objects left by the last people who occupied them. In addition to documenting the found objects, the excavations aimed to identify similar artifacts found in the two different contexts.

Todas las descripciones son comparativas: grandes felinos, 2007-08, tracings from an animal encyclopedia highlighting the text where the description is made by comparison.