The work comprises two complementary moments. The lower part presents the universe of the whitefly, an insect that represent a serious crop plague. The top part draws a parallel between the cosmic way in which the insects organize themselves to devour food, and, consequently, the possibility of catching a glimpse of a constellation through the systematic organization of this plague in action. <p><p>The whitefly is a phytophagous insect that usually feeds on the underside of plant leaves. A pest that drastically affects agriculture, this fly is fought in two ways: with the use of powerful pesticides and through biological control by the presence of natural predators. <p><p>The work tries to account for a certain natural balance, resulting from forces that converge to bring out the chaos of symbiosis. <p><p>The plant that should not be cultivated as an extractive monoculture needs to happen so that the agricultural engine continues to sow the national soil. For this, the fly that should not be a pest needs to be annihilated so that the farmer can distribute the production. <p><p><em>O Homem Velho [The Old Man]</em> projects the human being in an amoral way: a function of a complex system created by man himself. Then, there is an insect transformed into a plague that has the power to interrupt the crop, transforming nature into the main obstacle to be overcome by civilization. <p><p>Food and harvest. Man and plague. Mythology and Science. The ambivalences proposed in this work are tools for discussing the way history has been told for centuries. Seeing the insect as a plague, having a pest in place in a symbiotic relationship, preferring profit over livelihood, creating a myth to isolate science. These are some of the ways in which a civilization programmed to survive has been operating in order to overcome the its own saga. <p><p>A constelação do Homem Velho (The Old Man constellation) <p><p>In 1612 the French missionary Claude d'Abbeville recorded 30 constellations while accompanying the Tupinambás in the region of the state of Maranhão. He learned and meticulously recorded the astronomical and mythological details of these constellations in his work <em>Histoire de la Mission de Peres Capicins en l’ isle de Maragnan et terres circonvoisins</em>, published in 1614 in the French capital. <p><p>Among the constellations listed by the missionary, the <em>Constellation of the Old Man</em> is one of the most important for the indigenous peoples of Brazil. The constellation indicates both the beginning of summer for the southern indians, and the beginning of the rain season for the peoples of the northern region of the country. <p><p>The mythology of the Tupi-Guarani ethnicity tells another story about what the Greek culture identified in heaven as Orion and Taurus. Looking at the very same constellation, the Tupinambás saw the figure of an elderly man whose story had been honored by the gods in the form of a set of stars. <p><p>According to Tupinambá mythology, an old man married a beautiful indigenous woman, much younger than him. Then, over time, the young woman fell in love with the old man's younger brother and could no longer commit herself to what she had once sworn to her tribe. <p><p>The age of the old man's younger brother and in love with her brother-in-law, the young woman realizes that her love can never be complete while married. Over time, she sees no other solution than to kill him so that she can go on with her life with her lover. <p><p>Determined, she approaches the distracted old man and stabs him in the underside of one of his legs so that he starts bleeding. In a failed attempt by the Pajé (shaman) to stop the bleeding, the old man ends up losing his leg and dies. His death provokes the gods immediate compassion. <p><p>Moved by this story, the gods project the mutilated image of the old man into the sky so that – in the region where the constellation of Orion and Taurus is seen – it is possible to see his silhouette with a stick in his hand. <p><p>The star Betelgeuse (Alpha Orionis), whose brightness is remarkable in this region of the sky, delimits the place where the leg was amputated. This massive star is considered by astronomers to be a red super giant star that refers to the blood shed by the old man and is one of the 12 brightest stars to be seen from earth. <p><p>The head of the old man is formed by the cluster of Hyads, the same cluster that forms the head of the constellation Taurus. The old man´s plume seen from the front is represented by the shape of the Cluster of Pleiades. The famous Três Marias compose the knee, and the Saiph star represents his only foot. One of the old man´s arms is represented by the stars that make up the shield of Orion. Finally, the other arm is represented by stars from the constellation Taurus which also represents his staff. <p><p>In the painting, the stars are represented by what would be a disciplined grouping of flies. And through this organization one can see the Constellation of the Old Man, which appears by the strokes of dry point on the canvas. <p><p>Henrique Cesar, 2019

Landscape made with liquid asphalt paint that explores the resources of perspective trying to convey strangeness and immensity.<p><p>In this case, however, the mathematics of vanishing points is diluted, giving way to a certain spatial confusion that provokes not only the sensation of objective distance, but also of displacement.<p><p><em>O Mirante [The Belvedere]</em>employs a variety of different perspectives to promote disruption and discomfort to the eye. The horizon line is above the point of intersection of the diagonals of the plane.<p><p>In the landscape, where the horizon meets the sky, there is an interruption in the painting by the presence of the raw cotton of the canvas. This absence of matter in the pictorial plane creates a vacuum until a strip of pure bitumen appears to shelter a star.<p><p>Through this perspective, in the foreground, it is possible to observe an antenna. To the left of the axis of collision between the antenna and the star, one sees four colorless planes, and to the right a road.<p><p>This is a representation of a farming area, an agricultural belt. Fact is that in this very landscape there are two skies, one light and one dark. There are also two satellites, one natural and one artificial. And all this is resolved at the intersection of the vertical and horizontal axes.<p><p><em>The Lookout</em> does not exist, but it creates the conditions for one to admire a place where everything would make sense if logic did not intend to defy chaos.<p><p>The dystopian scene does not point to an announced tragedy, but to the representation of a common place, sometimes real, sometimes imaginary.

“The <em>Claustro [Cloister] series</em> appeals to a reverential fear in the face of a claustrophobic nature. At the same time that they evoke chaos, the landscapes represented have a picturesque matrix. The term picturesque appears in the 18th century to propose a new aesthetic category aimed at natural landscape. According to Argan (1909 - 1992), the picturesque is expressed in gardening as an act of educating the natural landscape – different from the sublime, which brings a sense of dread through the untouchability of the same nature. Both terms are not only contained in the roots of Romanticism as an aesthetic movement, but also in this series.<p><p><em>Cloister</em> makes reference to the missionary painting of the Brazilian landscape, but uses the toxic tar to portray organic green. The use of the oil derivative behaves as an artifice so that the weight of a condition becomes much more evident than the chaos portrayed on the scene. “<p><p>Henrique Cesar

Essa série – pintada com tinta asfáltica – designa a catalogação das espécies de palmeiras encontradas no Brasil, como estratégia para traçar um paralelo entre botânica e linhas de força eletromagnética.<p><p>Qualquer planta, seja árvore ou não, facilita a penetração da água e da umidade no solo para a alimentação dos lençóis freáticos. Em outras palavras, qualquer planta permite a comunicação otimizada entre a atmosfera e as abafadas profundezas do solo. <p><p>Quando chove, a planta incorpora água através de seus tecidos externos. Quando há sol suas folhas tratam de devolver a umidade ao espaço, além de absorver os raios ultravioletas para o início da fotossíntese, gerando assim gases e açúcares. Pelas raízes, a planta suga da terra os compostos nitrogenados, além de fósforo e potássio. Por fim, o tronco forma um cilindro vascular vertical que permite basicamente a comunicação entre o sol e a sombra através da sua estrutura arborescente. <p><p>O céu e a terra se conectam mediante várias possibilidades. No entanto há duas maneiras diretas de se conectar uma dimensão à outra: através do sistema de absorção vegetal, ou sob o efeito explosivo de uma descarga atmosférica. <p><p>Assim sendo, as plantas pouco tem de diferente se comparadas a satélites, sejam eles naturais ou artificiais. <p><p>Isso evidencia a possibilidade de se vislumbrar através de uma planta, uma complexa estrutura eletromagnética. Sais, açúcares, água, gases, tudo isso está em plena função de transporte ativo e passivo dentro do corpo da planta. Desse modo, permite-se um mapeamento das linhas de força de campos eletromagnéticos ocorrentes no interior de cada espécie de palmeira. <p><p>A palmeira como qualquer planta absorve, reflete e emana as funções vitais da terra. Uma antena? Um para-raios? Apenas um vegetal? Penso ser mais pertinente descrevê-la como uma profecia da física, disfarçada de exuberante resolução estética. Um conjunto de enigmáticos acontecimentos da natureza, resumidos num só corpo verde. E representadas nesses desenhos, com o uso de um material negro, betuminoso, também oriundo das profundezas do solo. <p><p>Faraday (1791 – 1867) propôs que as linhas de força partem do lado mais fraco do campo eletromagnético e convergem para onde o campo é mais forte. Essas linhas são invisíveis a olho nu, e geralmente curvas. Suas tangentes dão a direção do campo elétrico e por consequência dão sentido e força ao campo magnético. <p><p><em>Profecia Tropical</em> defende que através de tais linhas de força, é possível questionar a intensidade dos campos eletromagnéticos de um determinado ponto no espaço interno e externo das palmeiras. Desse modo, será possível demonstrar por meio de enigmas desvendados por Faraday, o formato que terá cada espécie da planta que é símbolo nacional.

Two gas plugs are connected by a lit LED tube light.<p><p>The idea of energy is present in all the materials that make up the work. Each of them has different purposes, for different types of power generation, pointing to the concept of load transmission between two poles with opposite directions.<p><p><em>Linha de fluxo</em> conveys the idea of a long exposure photographic image taken from a fluid of energy going from one point to another.<p><p>Energy is present in all the materials that make up the work. Each element represents a different purpose - each element serves different types of power generation. The combination points to a loaded transmission between two poles with opposite directions.

The first intervention with <em>Infiltration</em>, a mural painting by Henrique César. The paint mimicked moisture marks from leaks that become visible when the inner layer of the wall is already corrupted. Cesar reflected on the emptying or abandonment of the White Cube, which is normally full of people, actions and propositions.

The first intervention with <em>Infiltration</em>, a mural painting by Henrique César. The paint mimicked moisture marks from leaks that become visible when the inner layer of the wall is already corrupted. Cesar reflected on the emptying or abandonment of the White Cube, which is normally full of people, actions and propositions.

The first intervention with <em>Infiltration</em>, a mural painting by Henrique César. The paint mimicked moisture marks from leaks that become visible when the inner layer of the wall is already corrupted. Cesar reflected on the emptying or abandonment of the White Cube, which is normally full of people, actions and propositions.

The first intervention with <em>Infiltration</em>, a mural painting by Henrique César. The paint mimicked moisture marks from leaks that become visible when the inner layer of the wall is already corrupted. Cesar reflected on the emptying or abandonment of the White Cube, which is normally full of people, actions and propositions.

An instrument used to simultaneously record the temperature and relative humidity of the air, the thermohygrograph is commonly used in museums and exhibition spaces to measure the humidity of the air, as a means of controlling the natural deterioration from climatic variations on paintings, papers or sculptures. By way of a system that involves a clock, mechanical sensors and pens, the machine creates a graph for each 24- hour cycle. Temperature and humidity are properties of a phenomenon and can be expressed quantitatively. In “O Informante” [The Informant], Henrique Cesar uses the thermohygrograph as a tool for materializing the invisible and the intangible. During the 26 days of the installation’s exhibition, in Vermelho’s hall 2, the information transcribed by the thermohygrograph on sheets of graph paper will be presented side-by-side on the walls of the exhibition space, creating a large graphic. With every exchange of graphical table, the artist Intervene in the machine’s report with drawings and notes, pointing conditions that may have contributed to the result of reading. By making the atmospheric circumstances and conditions of the environment visible, “O Informante” [The Informant] aims to reveal the invisible mass of the exhibition space, essentially transforming it into an artwork.

Electronic noise and flickers are evidence of electromagnetic confusion in activity in the air. They are not merely the lack of certain channel signal, they are jumbled masses of magnetic fields. H. Cesar painting in the exhibition context, comments on the current clash in Brazilian communications, and weaves a criticism to the television media in the country.