90 x 54 cm
enamel paint on mdf and steel cables
Photo Filipe BerndtThe patterns painted by Chaia on the mobiles point to a turn in her practice. The artist is known for her works that explore the insertion of the body into urban and natural landscapes and is one of the names that defined the Generation 2000 in Brazil. This group has an intense focus on the models of urbanization that took place in Modern Brazil, a developmentalist model from the mid XXth century that believed in the logic that the country was destined for a grandiose future, but which never materialized.
Chaia’s paintings, drawings, and videos now turn inward to the body, with abstract patterns that evoke the epidermis, dermis, hypodermis, organs, bones, and muscles. Their structures, however, also recall undefined pathways or tribal patterns. Much of this “loose” abstraction came with the use of Chaia’s right hand, which she started to use to work after suffering a bicycle accident that forced her to undergo reconstructive surgery on her left hand, her dominant hand.
154 x 120 cm
Sakura watercolor on Hahnemühle Harmory Watercolor paper 300g
Photo Filipe BerndtLia Chaia works with perceptions and everyday experiences, such as the permanent tension between the body, urban space and nature. Often humorous, her work addresses how the body reacts to the stimuli and disruptions of the contemporary world. A body that adapts to landscapes, that creates relationships with other spaces, objects and people and thus becoming a research territory.
Dimensões variáveis
Acrylic paint and wooden bench Photo Edouard Fraipont On the gallery's facade, Lia Chaia proposes a performative installation with a bench installed under the word that gives the work its name. With codes that are proper to street and road traffic, such as the yellow color that divides the traffic lanes and the title, which brings together the terms parking and mind [in Portuguese ‘estacionamento’ becomes ‘estacionamente’], the work is an invitation to pause. According to Chaia, “Estacionamente lends itself to decelerating the urban rhythm and to an interregnum”.Variable dimensions
String glued on wall Photo Edouard Fraipont In Choreographic Drawing, a path made with a line glued to the wall invites the viewer to walk - using the hands and with eyes closed - the path, leaving the participant’s body to work together with the drawing, activating the work and putting their body in movement. Place a hand on each line Close your eyes Wander Through the drawing Trust your touchVariable dimensions
Photo Edouard FraipontA group of people distributes smile masks and the smile manifesto to the audience. Considering the current social and political moment in Brazil, the urgency to establish relationships based on affection and the exchange of knowledge that provide new encounters and new ways of inhabiting public space is clear.
performance com julia rocha
Photo Edouard Fraipont70 x 300 x 80 cm
Red plastic wires and PVC pipe Photo Filipe Berndt270 x 115 cm
Red plastic wires and PVC pipe Photo Filipe Berndt50 x 90 cm
Print on Hahnemühle Photo Rag® 308g paper and headless pins Photo Ana Pigosso50 x 90 cm
Print on Hahnemühle Photo Rag® 308g paper and headless pins Photo Ana Pigosso50 x 90 cm
Print on Hahnemühle Photo Rag® 308g paper and headless pins Photo Ana Pigosso50 x 90 cm
Print on Hahnemühle Photo Rag® 308g paper and headless pins Photo Ana Pigosso5'35''
Video – color, sound
Collaboration and editing: João Marcos de Almeida
Photograph: Flora Dias
Direct sound: Juliana R.
66 X 80,6 cm
Printing on Hahnemühle Cézanne Canvas 430g and Hahnemühle Varnish Matt varnish Photo Ana Pigosso66 X 80,6 cm
Printing on Hahnemühle Cézanne Canvas 430g and Hahnemühle Varnish Matt varnish Photo Ana Pigosso62 X 79,6 cm
Printing on Hahnemühle Cézanne Canvas 430g and Hahnemühle Varnish Matt varnish Photo Ana Pigosso62 X 79,6 cm
Printing on Hahnemühle Cézanne Canvas 430g and Hahnemühle Varnish Matt varnish Photo Ana Pigosso42cm x 50cm; 40,5cm x 50cm; 50cm x 40,5cm; 50cm x 25,5cm; 41,2cm x 50cm; 34cm x 50cm; 44,5cm x 50,2
Printing on Hahnemühle Photo Rag® 308g paper Photo Ana Pigosso76 x 100 cm (cada) - políptico composto por 6 peças
Stamp with ink on Tiziano paper 160 gr Photo Edouard Fraipont49 x 33,5 cm
Laminated price tag sticker collage, nylon thread and acrylic support Photo Ana Pigosso69 x 31,5 cm
Laminated price tag sticker collage, nylon thread and acrylic support Photo Ana Pigosso79 x 36 cm
Laminated price tag sticker collage, nylon thread and acrylic support Photo Ana Pigosso41 x 41 cm
Facade fabric and nails Photo Galeria Vermelho41 x 41 cm
Facade fabric and nails Photo Galeria Vermelho50 x 80 cm
Permanent marker on corrugated paper Photo Edouard Fraipont50 x 80 cm
Permanent marker on corrugated paper Photo Edouard Fraipont54 x 43 cm
Print on photo paper, foamboard and mesh Photo Edouard Fraipont54 x 32 cm
Print on photo paper, foamboard and mesh
Photo Edouard Fraipont60 x 60 cm
Print with mineral pigment ink on Hahnemühle Lumijet Classic Velor paper 290 gr. Photo Reprodução124 x 86 cm – 5 piece polyptych
Print with mineral pigment ink on Awagami Kozo Thick White 110 gr paper
Photo Edouard FraipontThe photographic series Folha-Leito marks the passage of time, symbolized in the beginning-middle-end sequence. Life is a cycle that is persistently developed, like the candle flame that flickers out, as William Shakespeare put it, in Macbeth. This work deals with the vitality that disappears, with the inevitable impermanence. The human and the organic are transitory. Folha-Leito presents images of dozens of leaves that have suffered the action of time, placed side-by-side to compose the shape of one large leaf. The shape of each unit is reproduced in the larger shape, that is, each unit sees itself repeated in the overall situation. Thus, each leaf appears as a metaphor of the individual, and the overall situation serves as a metaphor of society. In this work, both the people and the collective fulfill a cycle of life and death, of apogee and decline. Nevertheless, at the end of a period of time, some leaves persist on living, they insist on the persistence of life.
30 x 43 cm (fechado) ou 30 x 85 cm (aberto)
Adhesive on cotton paper Photo Edouard Fraipont30 x 43 cm (fechado) ou 30 x 85 cm (aberto)
Adhesive on cotton paper Photo Edouard Fraipont60 x 60 cm
Print with mineral pigment ink on Hahnemühle Lumijet Classic Velor paper 290 gr. Photo Reprodução60 x 60 cm
Print with mineral pigment ink on Hahnemühle Lumijet Classic Velor paper 290 gr. Photo Reprodução67 x 90 cm
Print with mineral pigment ink on Epson Premium Luster 260 g paper, dry tip scraping and handles
Photo Edouard FraipontMade with drawinsg of wires over photography, the series presents a sky that is now gray, scratched and cut by electrical wires. This series possesses a gloomy light and emphasizes the void and fragility of the urban scenario. The conductors that serve as the arteries to maintain the throbbing city have been erased, they are deactivated and loose in the air. We are before a situation which indicates that the urban environment is being damaged.
67 x 90 cm
Print with mineral pigment ink on Epson Premium Luster 260 g paper, dry tip scraping and handles
Photo Edouard FraipontMade with drawinsg of wires over photography, the series presents a sky that is now gray, scratched and cut by electrical wires. This series possesses a gloomy light and emphasizes the void and fragility of the urban scenario. The conductors that serve as the arteries to maintain the throbbing city have been erased, they are deactivated and loose in the air. We are before a situation which indicates that the urban environment is being damaged.
67 x 90 cm
Print with mineral pigment ink on Epson Premium Luster 260 g paper, dry tip scraping and handles
Photo Edouard FraipontMade with drawinsg of wires over photography, the series presents a sky that is now gray, scratched and cut by electrical wires. This series possesses a gloomy light and emphasizes the void and fragility of the urban scenario. The conductors that serve as the arteries to maintain the throbbing city have been erased, they are deactivated and loose in the air. We are before a situation which indicates that the urban environment is being damaged.
225 x 215 cm
Carpet and cables
Photo Edouard FraipontIn Alambrado, the origin of the installation is found in the fences used widely in the city to protect properties. The weave of wire and the hardness of the metal are transformed into a malleable network that clings to the wall and spreads over the floor. A tangle of protective fence, whose function was to exclude, impede and separate. Nevertheless, the power of fencing is brought into question, since the fence is fragile and has torn and broken parts, indicating attempts at breaking through it.
225 x 215 cm
Carpet and cables Photo Edouard Fraipont60 x 60 cm
Print with mineral pigment ink on Hahnemühle Lumijet Classic Velor paper 290 gr. Photo ReproduçãoPolíptico composto por 23 peças
Drawing and ink on paper, cables and speakers Photo Edouard Fraipont66,3 x 66,4 cm
photographic enlargement
Photo reproduction62,5 x 88 cm
Analog photography on matte photographic paper Photo Pinacoteca do Estado88 x 62,5 cm
Analog photography on matte photographic paper Photo Pinacoteca do EstadoLia Chaia works with perceptions and everyday experiences, such as the permanent tension between the body, urban space and nature. Often humorous, her work addresses how the body reacts to the stimuli and disruptions of the contemporary world. A body that adapts to landscapes, that creates relationships with other spaces, objects and people and thus becoming a research territory. Chaia seeks to reflect in her work on the dissolution of the boundaries between supports and languages.
A selection of solo exhibitions includes Percurso, Galeria Aymoré, Rio de Janeiro (2019); Febrile, Vermelho, São Paulo (2018); Estacionamente, Galeria do Senac Rua Scipião, São Paulo (2018); Pulso, Vermelho, São Paulo (2017); É como dançar sobre a arquitetura {It’s like dancing on architecture}, Instituto Tomie Ohtake, São Paulo (2017); [Co]Habitar, Casa da América Latina, Lisbon (2016); A selection of group exhibitions includes: Tales from an old world, LOOP Salon, Museu d’Historia de Catalunya, Barcelona (2020); MAM Photography Collectors Club – 20 years, São Paulo Museum of Modern Art [MAM SP] (2020); Life, Still Life, Galeria Presença, Porto (2019); Paisajes entre paisajes, BIENALSUR, Museo de Arte Fueguino (MFA), Rio Grande (2019); Que Barra!, Atelier 397, São Paulo (2018); How to Remain Silent?, A4 Arts Foundation, Cape Town (2018); Past/Future/Present: Contemporary Brazilian Art from the Museum of Modern Art, Phoenix Art Museum Phoenix (2017); Metropolis: Paulistana experience, Estação Pinacoteca, São Paulo (2016).
Lia Chaia holds a degree in visual arts from Fundação Armando Álvares Penteado, FAAP, she is a permanent student of dance, in particular belly dance, and in parallel she has studied Clowning. She occasionally teaches classes and workshops. Her work transits through different media and languages, such as photography, video, performance, drawing and installation.
Lia Chaia works with perceptions and everyday experiences, such as the permanent tension between the body, urban space and nature. Often humorous, her work addresses how the body reacts to the stimuli and disruptions of the contemporary world. A body that adapts to landscapes, that creates relationships with other spaces, objects and people and thus becoming a research territory. Chaia seeks to reflect in her work on the dissolution of the boundaries between supports and languages.
A selection of solo exhibitions includes Percurso, Galeria Aymoré, Rio de Janeiro (2019); Febrile, Vermelho, São Paulo (2018); Estacionamente, Galeria do Senac Rua Scipião, São Paulo (2018); Pulso, Vermelho, São Paulo (2017); É como dançar sobre a arquitetura {It’s like dancing on architecture}, Instituto Tomie Ohtake, São Paulo (2017); [Co]Habitar, Casa da América Latina, Lisbon (2016); A selection of group exhibitions includes: Tales from an old world, LOOP Salon, Museu d’Historia de Catalunya, Barcelona (2020); MAM Photography Collectors Club – 20 years, São Paulo Museum of Modern Art [MAM SP] (2020); Life, Still Life, Galeria Presença, Porto (2019); Paisajes entre paisajes, BIENALSUR, Museo de Arte Fueguino (MFA), Rio Grande (2019); Que Barra!, Atelier 397, São Paulo (2018); How to Remain Silent?, A4 Arts Foundation, Cape Town (2018); Past/Future/Present: Contemporary Brazilian Art from the Museum of Modern Art, Phoenix Art Museum Phoenix (2017); Metropolis: Paulistana experience, Estação Pinacoteca, São Paulo (2016).
Lia Chaia holds a degree in visual arts from Fundação Armando Álvares Penteado, FAAP, she is a permanent student of dance, in particular belly dance, and in parallel she has studied Clowning. She occasionally teaches classes and workshops. Her work transits through different media and languages, such as photography, video, performance, drawing and installation.
Lia Chaia
1978. São Paulo
Lives and works in São Paulo
Solo shows
2024
– Lia Chaia. Organoide – Galeria Vermelho – São Paulo – Brasil
2022
– Lia Chaia. Máscara Corpo – Projeto Clareira – Museu de Arte Contemporânea [MAC USP] – São Paulo – Brasil
– Lia Chaia. Átomo – Galeria Vermelho – São Paulo – Brasil
2019
– Lia Chaia. Percurso – Galeria Aymoré – Rio de Janeiro – Brasil
– Lia Chaia. Febril – Galeria Vermelho – São Paulo – Brasil
2018
– Lia Chaia. Estacionamente – Senac Lapa Scipião – São Paulo – Brasil
2017
– Lia Chaia: Pulso – Galeria Vermelho – São Paulo – Brasil
– Como dançar sobre a arquitetura – Instituto Tomie Ohtake (ITO) – São Paulo – Brasil
2016
– (CO)HABITAR – Casa da América Latina – Lisboa – Portugal
2015
– Corpo Mitológico – Galeria Vermelho – São Paulo – Brasil
2013
– Contrapasso – Galeria de Arte da Fundação Ecarta – Porto Alegre – Brasil
– Contratempo – Galeria Vermelho – São Paulo – Brasil
2012
– Esqueleto Aéreo – Galeria Vermelho – São Paulo – SP – Brasil
– Solo Project – ARCO 2012 – Madri – Espanha
2010
– Anônimo- Galeria Vermelho- São Paulo- Brasil
2009
– Rodopio – Centro Cultural Mariantonia – São Paulo – Brasil
2008
– Baralhada – Galeria Vermelho – São Paulo – Brasil
2007
– Pelos Tubos – Ateliê Aberto – Campinas – Brasil
– Mostravídeo – Instituto Itaú Cultural – Belo Horizonte – Brasil
2006
– Fauna – Paço das Artes – São Paulo – Brasil
– Entre Vias – Museo Laboratorio di Arte Contemporanea dell’Università di Roma – Roma – Itália
– Via Invertida – Galeria Vermelho –São Paulo – Brasil
2005
– Lia Chaia – Centre de Creation Bazouges la Perouse – França
2004
– Vereda – Programa Sítio – Base 7 – São Paulo – Brasil
2003
– A Sala de Lia – Ateliê Aberto – Campinas – São Paulo – Brasil
2002
– Experiências com o Corpo – Instituto Tomie Ohtake – São Paulo – Brasil
/Group shows
2024
– Programa FONTE – Projeto Fidalga – São Paulo – Brasil
– Refundação (itinerância) – Museu da Inconfidência – Ouro Preto – Brasil
– Plástico Bolha – C.A.M.A. – São Paulo – Brasil
– 621 e todas nós. Mulheres artistas na Coleção do Instituto Figueiredo Ferraz – Instituto Figueiredo Ferraz (IFF) – Ribeirão Preto – Brasil
– Técnicas de diversão no campo da arte – Museu de Arte Moderna de São Paulo (MAM SP) – São Paulo – Brasil
– Antes e Agora, Longe e Aqui Dentro – Museu Oscar Niemeyer [MON] – Curitiba – Brasil
– Message from Our Planet – Chazen Museum of Art – Madison – EUA
– Percepções e Movimentos – Galeria Presença – Porto – Portugal
2023
– Corpo-Gesto – Nonada – Rio de Janeiro – Brasil
– O Pequeno Colecionador – Galeria Carbono – São Paulo – Brasil
– O tempo é uma criança que brinca – Galeria Carbono – São Paulo – Brasil
– O cio da Terra, Ócio da Terra – The55Project – Miami – EUA
– Ana Mendieta Silhueta em Fogo. Terra Abrecaminhos – Sesc Pompeia – São Paulo – Brasil
– Message from Our Planet – Pensacola Museum of Art – Pensacola – EUA
– Refundação – Galeria Reocupa – Ocupação 9 de Julho – São Paulo – Brasil
– Message from Our Planet – Grand Rapids Art Museum – Grand Rapids – EUA
– Cuando la casa se queima. Bienalsur – Centro Cultural Parque de España – Rosário – Argentina
– She Devil. Bienalsur – MUNTREF – Buenos Aires – Argentina
– Video Muro – Isla Flotante Galeria – Buenos Aires- Argentina
– Casa no céu – Galeria Vermelho – São Paulo – Brasil
– 2o Fórum de Fotoperformance – Teatro Francisco Nunes – Belo Horizonte – Brasil
– Good Vibes – Ateliê 397 – Pavilhão da Bienal/SP Arte – São Paulo – Brasil
– II Mostra de Audiovisual ES. Tempo em Suspensão – Cine Metrópolis – Universidade Federal do Espirito Santo – Vitória – Brasil
– Message from Our Planet – Weisman Art Museum – Minneapolis – EUA
– Brasil futuro: as formas da democracia – Museu Nacional da República – Brasília – Brasil
– Tridimensional: entre o sagrado e o estético – Arte123 galeria – São Paulo – Brasil
2022
– 20 anos de Faxinal das Artes: lacunas e processos – Sala 09 do MAC no MON – Museu de Arte Contemporânea do Paraná (MAC-PR) – Curitiba – Brasil
– O Legado – Galeria Presença – Porto – Portugal
– Message from Our Planet – Figge Art Museum – Davenport – EUA
– Videoarte no acervo MIS – Museu da Imagem e do Som [MIS] – São Paulo – Brasil
– Breaking Up – Phoenix Art Museum – Phoenix – EUA
– Coleção Sartori — A arte contemporânea habita Antônio Prado – Museu de Arte do Rio Grande do Sul [MARGS] – Porto Alegre – Brasil
2021
– Filmes e vídeos de artistas [Mostra Virtual] – Itaú Cultural – São Paulo – Brasil
– Somos Aunque Nos Olviden- El Parque De Las Americas- Mérida/ Yucatan- México
– Dizer Não – Rua Cruzeiro, 802 – Barra Funda – São Paulo – Brasil
– Cobra Norato – Biblioteca Raul Bopp – Parque da Aclimação – São Paulo – Brasil
– Língua Solta – Museu da Língua Portuguesa – São Paulo – Brasil
– Matéria-linha – Museu Brasileiro de Escultura e Ecologia [MUBE] – São Paulo – Brasil
2020
– Tá me vendo? Tá me ouvindo? Narrativas do digital – Casa Niemeyer, Museu de Arte Contemporânea da Universidade de Brasília [UnB] – Brasília – Brasil
– Sandra Cinto: das ideias na cabeça aos olhos no céu – ItaúCultural – São Paulo – Brasil
– Tales from an old world. LOOP Salon – Museu d’ Historia de Catalunya – Barcelona- Espanha
– Clube de colecionadores de fotografia do MAM – 20 anos – Museu de Arte Moderna de São Paulo (MAM SP) – São Paulo – Brasil
2019
– Mulheres em Cena – Museu de Arte de Ribeirão Preto [MARP] – Ribeirão Preto – Brasil
– Verbo 2019. 15ª edição da Mostra de Performance Arte – Galeria Vermelho – São Paulo e Chão SLZ – São Luis – Brasil
– Ambages – Galeria Vermelho – São Paulo – Brasil
– Mulheres em Cena – Pinacoteca Fórum das Artes de Botucatu –Botucatu – Brasil
– Arte y Territorio – Instituto Cultural Peruano Norteamericano (ICPNA) – Lima – Peru
– SEGUNDA-FEIRA, 6 DE JUNHO DE 2019 – Galeria Vermelho – São Paulo – Brasil
– Paisajes entre paisajes – BIENALSUR 2019 – Museo de Arte Fueguino (MFA) – Rio Grande – Argentina
– Life, Still Life – GaleriaPresença – Porto – Portugal
– Passado/Futuro/Presente: Arte contemporânea brasileira no acervo do Museu de Arte Moderna de São Paulo – Museu de Arte Moderna de São Paulo [MAM SP] – São Paulo – Brasil
2018
– YOYO. Tudo que vai volta – Sesc Taubaté – Taubaté – Brasil
– Mulheres na coleção do MAR – Museu de Arte do Rio [MAR] – Rio de Janeiro – Brasil
– Verbo 2018: 14ª edição da Mostra de Performance Arte – Galeria Vermelho – São Paulo – Brasil
– Vigilância Líquida – Galeria Luisa Strina – São Paulo – Brasil
– Que Barra – Atelier 397 – São Paulo – Brasil
– Yoyo, tudo que vai volta – Sesc Belenzinho – São Paulo – Brasil
– Ação e Reação – Casa do Brasil: Colegio Mayor Universitario – Madri – Espanha
2017
– How to Remain Silent? – A4 Arts Foundation – Cidade do Cabo – África do Sul
– Past/Future/Present: Contemporary Brazilian Art from the Museum of Modern Art, São Paulo – Phoenix Art Museum – Phoenix – EUA
– Prólogo contemporáneo para una colección moderna [Bienalsur] – Montevideo – Uruguai
– Yes, nós temos biquíni – Centro Cultural Banco do Brasil RJ (CCBB RJ) – Rio de Janeiro – Brasil
– Metrópole: experiência Paulistana – Estação Pinacoteca – São Paulo – Brasil
– Coletiva Artistas Contemporâneos / Acervo – Galeria Berenice Arvani – São Paulo – Brasil
2016
– OVNI – Objectif Vidéo Nice – Hotel Windsor e Grand Hotel Le Florence – Nice – França
– Coletiva – Galeria Vermelho – São Paulo – Brasil
– O Útero do Mundo – Museu de Arte Moderna (MAM) – São Paulo – Brasil
– Os muitos e o um: a arte contemporânea brasileira na coleção de José Olympio e Andrea Pereira – Instituto Tomie Ohtake (ITO) – São Paulo – Brasil
– Silêncio(s) do Feminino – Caixa Cultural RJ – Rio de Janeiro – Brasil
– VERBO 2016 – Mostra de Performance Arte (12ª ed.) – Galeria Vermelho – São Paulo – Brasil
– Coletiva – Galeria Vermelho – São Paulo – Brasil
– FLAM VI – Forum for Live Art – Amsterdam – Holanda
– O Estado da Arte – Instituto Figueiredo Ferraz (IFF) – Ribeirão Preto – Brasil
– Silêncio(s) do Feminino – Caixa Cultural São Paulo – São Paulo – Brasil
2015
– Ficções – Caixa Cultural RJ – Rio de Janeiro – Brasil
– Sur Global: horizontes para uma nueva Bienal de Artes – Buenos Aires – Argentina
– Metadados – Ateliê Aberto – Campinas – São Paulo – Brasil
– Publishing in the Frontier – Edição Tijuana – MDM Gallery – Paris – Fança
– Fotos contam Fatos – Galeria Vermelho – São Paulo – Brasil
– Parati em Foco – Casa da Cultura de Parati – Parati – Brasil
– Paisagem Opaca – MAM SP – São Paulo – Brasil
– Aprendendo a Viver com a Sujeira – Galeria Vermelho – São Paulo – Brasil
– 30 Artistas Selecionados da 5ª Edição do Prêmio CNI SESI SENAI Marcantonio Vilaça – MAC Ibirapuera – São Paulo – Brasil
– O que não é performance? – Centro Universitário Maria Antonia – São Paulo – Brasil
– Frestas – Trienal de Arte Contemporânea – SESC Sorocaba – Sorocaba – Brasil
2014
– Pinacoteca do Estado de São Paulo visita o MAC Sorocaba – MAC Sorocaba – Sorocaba – Brasil
– Made by… Feito por Brasileiros – Hospital Matarazzo – São Paulo – Brasil
– Verbo 2014. Mostra de Performance Arte (10ª ed.) – Galeria Vermelho – São Paulo – Brasil
– Entre Tiempos… Presencias de la Colección Jozami en el Museo Lázaro Galdiano- Museo Lázaro Galdiano – Madri
Espanha
– Cool Stories IV – ARTPORT_making waves [online platform]
– 140 Caracteres – Museu de Arte Moderna [MAM SP] – São Paulo – Brasil
2013
– Tomie Correspondências – Centro Cultural dos Correios – Rio de Janeiro – Brasil
– ExpoProjeção 1973-2013 – SESC Pinheiros – São Paulo – Brasil
– Proyechos Ultra Violeta – Museu de Arte Contemporáneo y Diseño de Costa Rica – San Jose – Costa Rica
– O Corpo é o meu – Laboratório Curatorial [SPArte 2013] – Pavilhão da Bienal de São Paulo – São Paulo – Brasil
– Cleaning Up – Johannes Vogt Gallery – Nova Iorque – EUA
– Tomie Correspondências – Instituto Tomie Ohtake – São Paulo – Brasil
– Circuitos Cruzados: o Centre Pompidou encontra o MAM – Museu de Arte Moderna [MAM SP] – São Paulo – Brasil
– Walking – 1ª Temporada de projeto 2013 – Paço das Artes – São Paulo – Brasil
2012
– Aver – Mostra de video-arte – Atelier Aberto – Campinas – Brasil
– 11ª Bienal de la Habana: Praticas Artisticas e Imaginários Sociales – Havana – Cuba
– Expansivo – Galeria Vermelho – São Paulo – SP – Brasil
– Daquilo que me habita – Centro Cultural Banco do Brasil [CCBB DF] – Brasília – Brasil
– Olhares Oblicuos – Galeria Deco – São Paulo – Brasil
– Otra Generacion – Galeria Blanca Soto – Madri – Espanha
2011
– Contra a Parede – Galeria Vermelho – São Paulo – Brasil
– Os Primeiros Dez Anos – Instituto Tomie Ohtake – São Paulo – Brasil
– Geração 00 – A nova fotografia Brasileira – SESC Belenzinho – São Paulo – Brasil
– Virada Cultural “dos Reis e Rainhas” – SESC Pompéia – São Paulo – Brasil
– Ordem e Progresso – Museu de Arte Moderna [MAM SP] – São Paulo – Brasil
2010
– En Conversacion – Galeria Nueve Ochenta – Bogotá – Colômbia
– Vidéo et Après – Centre Pompidou – Paris -França
– Convivências – Fundação Iberê Camargo-Porto Alegre – Brasil
– Ponto de Equilibrio- Instituto Tomie Ohtake – São Paulo- Brasil
– Verbo 2010 – Galeria Vermelho – São Paulo – Brasil
– Film and Video from Brazil – New Museum – Nova Iorque – EUA
– Gradiado – Atêlie Aberto – Campinas- São Paulo
– Quem tem medo? – Galeria Vermelho – São Paulo – Brasil
– Rhodislândia – Hélio Oiticica – Museu é o Mundo – Itaú Cultural – São Paulo – Brasil
– Focus Brasil – Galeria Moro – Santiago – Chile
– Projection – Paris 8e. Station Europe – Paris – França
2009
– Narracje – Gdansk’s Open Space – Gdansk – Polônia
– Por Aqui – Galeria Vermelho – São Paulo – Brasil
– Setamanco – Jornada Internacional Na Cidade Sem Meu Carro – Campinas – São Paulo- Brasil
– Nuevas Miradas – Galeria Fernando Pradilla – Madri – Espanha
– Brazil Contemporary- Nederlands Fotomuseum – Rotterdam – Holanda
– Vértice – Galeria Millan – São Paulo – Brasil
– pH Neutro – Galeria Vermelho – São Paulo – Brasil
– Nova Arte Nova – Centro Cultural Banco do Brasil [CCBB] – São Paulo – Brasil
2008
– Início Após 100 anos: Brasil-Japão – Galeria Deco – São Paulo – Brasil
– Container Art – mostra de videoarte – Parque Villa Lobos – São Paulo – Brasil
– GLOW – Fórum of Light in Art and Architecture – Eindhover – Holanda
– Preparações e Tarefas – Bienal Internacional de Dança do Ceará/De Par Em Par – Ceará – Brasil
– É claro que você sabe do que estou falando – Galeria Vermelho – São Paulo – Brasil
– Creative Art Session 2008: Japan-Brazil Firendship Exhibition – Kawasaki City Museum – Kawasaki – Japão
– Provas de Contato – Galeria Vermelho – São Paulo – Brasil
– Verbo 2008 – Galeria Vermelho – São Paulo – Brasil
– Turistas, Volver – Galeria Carminha Macedo – Belo Horizonte – Brasil
– Mão Dupla – movimento/identidade – Sesc Pinheiros – São Paulo – Brasil
– Parangolé – Fragmentos desde los noventa en España, Portugal y Brasil – Museo Patio Herreriano – Valladolid – Espanha
– Merrill Lynch Arteamericas – The Latin American Art Fair – Miami Beach Convention Center – Miami – EUA
2007
– Arte Conceitual no MAM-SP – Museu de Arte Moderna [MAM SP] – São Paulo – Brasil
– Recortar e Colar – CRTL_C + CRTL_V – SESC Pompéia – São Paulo – Brasil
– Jardim do Poder –Centro Cultural Banco do Brasil [CCBB DF] – Brasília – Brasil
– 10° Istambul Biennial – Istambul – Turquia
– Futuro do Presente – Instituto Itaú Cultural – São Paulo – Brasil
2006
– Paralela – PRODAN – São Paulo – Brasil
– MAM [na] OCA – OCA – São Paulo – Brasil
– Geração da virada – 10 + 1: os anos recentes da arte brasileira – Instituto Tomie Ohtake – São Paulo – Brasil
– This is not a love song – Galeria Vermelho – São Paulo – Bra
– Urban Scapes – Contemporary Brazilian Art – DNA Gallerie – Berlim – Alemanha
– Videometry – Loop/06 – Galeria Dels Àngels – Barcelona – Espanha
– Con los ojos del otro – Centro Cultural de España – Montevideo – Uruguai
– Observatori 2006 – Valencia – Espanha
– Paradoxos – Rumos Itaú Cultural 2005-2006 Artes Visuais – Instituto Itaú Cultural – São Paulo – Brasil
– 5° Bienal Internacional de Liége – Centro Cultural Lês Chiroux- Liége – Bélgica
– Doações/Aquisições 2005 –Museu de Arte Moderna [MAM SP] – São Paulo – Brasil
– ARTEBA06 – Pavilhão la Rural – Buenos Aires – Argentina
– Padronagens – Galeria Marília Razuk – São Paulo – Brasil
– Urbe – Casa Triângulo – São Paulo – Brasil
2005
– Galeria Garash – Cidade do México – México
– Espaço urbano x Natureza Intrínseca – Espace Topographie de l’ art – Paris – França
– Parrilla de Video Arte – Centro Cultural Matucana 100 – Santiago – Chile
– As aparências não enganam – FAV /Faculdade de Artes Visuais/ UFG – Goiânia – Brasil
– Rencontres Parallèles – Centre D ‘Art Contemporain De Basse-Normandie – Hérouville-Saint-Clair – França
– 15° Festival Internacional de Arte Eletrônica Vídeobrasil – São Paulo – Brasil
– 1° Mostra do Programa de Exposições 2005 –Centro Cultural São Paulo [CCSP] – São Paulo – Brasil
– Verbo – Galeria Vermelho – São Paulo – Brasil
– Marking Time – LACE – Los Angeles – EUA
– Corpo Câmera Ação – Instituto Itaú Cultural – São Paulo – Brasil
– Coletiva do Programa de Exposições –Centro Cultural São Paulo [CCSP] – São Paulo – Brasil
– O Corpo na Arte Contemporânea Brasileira – Instituto Itaú Cultural – São Paulo – Brasil
– O Retrato como Imagem do Mundo –Museu de Arte Moderna [MAM SP] – São Paulo – Brasil
2004
– Mostra Made in Brazil – Ybakatu Espaço de Arte – Curitiba – Brasil
– Vol. – Galeria Vermelho – São Paulo – Brasil
– Paralela – São Paulo – Brasil
– Entre Pindorama – Künstlerhaus Stuttgart – Stuttgart – Alemanha
– Artista Personagem – Centro Universitário Mariantonia – São Paulo – Brasil
– Artista Personagem – Museu de Arte de Ribeirão Preto [MARP] – Ribeirão Preto – Brasil
– Seja lá onde for –– Museu de Arte Contemporânea [MAC] – Americana – Brasil
– Caderno Especial – Folha de São Paulo – 31 Artistas, 1 Metrópole – São Paulo – Brasil
– Underground – Corpo de Baile – Sesc Consolação – São Paulo – Brasil
– O Corpo Entre o Público e o Privado – Paço das Artes – São Paulo – Brasil
– O Corpo Entre o Público e o Privado – Casa das Onze Janelas – Belém – Brasil
– Título de Pintura – Ateliê Aberto – Campinas – Brasil
– Corpo de Baile 2 – Galeria Vermelho (Bem-Vindo) – São Paulo e Lord Palace Hotel – São Paulo – Brasil
2003
– Young Brazilian Artists – Galeria André Viana – Porto – Portugal
– Imagética – Fundação Cultural de Curitiba – Curitiba – Brasil
– Metacorpos – Corpo De Baile – Paço Das Artes – São Paulo – Brasil
– 1 Lúcia 2 Lúcias – Galeria Vermelho – São Paulo – Brasil
– Sábado de Performances – Galeria Vermelho – São Paulo – Brasil
– Um Incômodo – Nu-Sol – PUC – São Paulo – Brasil
– Ordenação e Vertigem – CCBB – Centro Cultural Banco do Brasil – São Paulo – Brasil
– Corpo de Baile- Galeria Vermelho – São Paulo – Brasil
2002
– Matéria Prima – Novo Museu – Curitiba – Brasil
– 34ª Anual de Arte- FAAP – São Paulo – Brasil
– Genius Loci – O Espírito do Lugar – Vila Buarque – São Paulo – Brasil
– III Bienal de Artes Visuais de São João da Boa Vista – Centro Cultural Fernando Arrigucci Estação Ferroviária Fepasa – São João da Boa Vista – Brasil
– Faxinal das Artes – Viagem/Residência – Museu de Arte Contemporânea do Paraná [MAC PR] – Curitiba – Brasil
– Desdobramentos: Desenhos – Museu de Arte Contemporânea [MAC] – Americana – Brasil
– Marrom – Galeria Vermelho – São Paulo – Brasil
– Com que Corpo Eu Vou? – Espaço de Artes Unicid – São Paulo – Brasil
– Fachada Brasileira – fachada – Galeria Vermelho – São Paulo – Brasil
2001
– 50 + 5 – São Paulo – Brasil
– São Paulo/Universidades – 1ª Mostra 2001 – Euroart Galeria – São Paulo – Brasil
– Políticas Pessoais – Museu de Arte Contemporânea – Americana – Brasil
– 33ª Anual de Arte – Fundação Armando Alvares Penteado [FAAP] – São Paulo – Brasil
– Bienal Extra – São Paulo – Brasil
2000
– Dadá é mais que Dadá – Paço das Artes – São Paulo – Brasil
– Fumaça – Fundação Armando Alvares Penteado [FAAP] – São Paulo – Brasil
– 32ª Anual de Arte – Fundação Armando Alvares Penteado [FAAP] – São Paulo – Brasil
1999
– 31ª Anual De Arte – Fundação Armando Alvares Penteado [FAAP] – São Paulo – Brasil
Grants and residencies
2009
– CURRENTS – ART & MUSIC – Beijing – China
2005
– Bolsa Iberê Camargo /Bolsa para a Sala de Arte Publico Siqueiros e Galeria Garash – México
2003
– Programa de Residência/ Artist In Residence Programme- Cité des Arts- Paris – França
Public Collections
– Casa Niemeyer – Museu de Arte Contemporânea da Universidade de Brasília [UnB] – Brasília – Brasil
– Coleção Pinacoteca do Estado de São Paulo – São Paulo – Brasil
Private Collections open to the Public
– Museu de Arte do Rio [MAR] – Rio de Janeiro – Brasil
– Museu de Arte Moderna de São Paulo (MAM SP) – São Paulo – Brasil
– Colección Jozami – Madri – Espanha
– Instituto Inhotim – Brumadinho – Brasil
– Comodato Gilberto Chateaubriand – Museu de Arte Moderna – Rio de Janeiro – Brasil
– Banco do Espirito Santo – Lisboa – Portugal
– Comodato Roger Wright – Coleção Pinacoteca do Estado de São Paulo – São Paulo –Brasil
This text begins with a key in hand. I turn the doorknob and close the front door, convinced that I should try to think about Lia Chaia’s work in motion. This text will not be written; it will be transcribed from the recording of my notes during the walk.
Go right or left? Plan where to go or just stroll randomly? I plan nothing, but I decide to go left, the busiest part of the street. It’s nine in the evening, and there are still cars passing by, but there are almost no pedestrians. A first thought bothers me: the lack of light at night will hinder the experiment. Where will the intense colors of this set of works that Lia now shows in the Organoide exhibition be?
I walk slowly. In front of me, people say goodbye, “Goodbye, folks, go with God,” is the phrase I hear from over there. It’s the hook for me to think about this conventional gesture, the handshake, with which Lia opens the exhibition. An automatic, formal, almost bureaucratic gesture of welcoming. “How are you? How are you? How are you?” Dog barks announce my presence in the houses I pass by, which is a way of greeting me. I think of those hands floating in space, separated from their bodies, hanging on mobiles and spinning and moving like a seesaw. “How are you? How are you?” Why do we answer a question with another question and both remain unanswered? The painting on the surface of the hands, which evokes muscles, tendons, and joints, curiously joins the image of a puppet theater where the characters are manipulated by strings attached to the hand of someone always hidden in the scene. Hands that use their tendons and muscles to move other hands with their tendons and muscles. “How are you? How are you? How are you?”.
Passing by a tree planted near the curb, which requires my body to move, I remember other works by Lia where nature and the city form a pair. One questioning the other, seeking a dialogue sometimes conflicting, sometimes harmonious. I think of works like “Verdejar” in which vines, tropical plants, in a vast range of greens, invade the walls of buildings.
Almost reaching the corner, I need to decide whether to go straight or turn left. The right option is not even considered: a very steep climb would inhibit my thoughts. It’s necessary to find a balance between reasoning and physical effort. I end up going straight. I observe the hazy moon in the sky, thus creating a vertical axis in the walk that initially establishes itself on the horizontal plane. Coming towards me, I vaguely recognize someone, a neighbor who frequents the restaurants and bakeries in the area. We cross paths.
As I advance, so does Lia’s exhibition. Past this first room, where objects float, we reach the center of the gallery subtly modified. Transformed into the beating heart of the exhibition where the video “Dancing Drawing” is located, in which the artist projects a series of drawings on her own body that begin to walk on the surface of her skin. The drawings stroll, moving, until they disappear. The artist’s still body appears in a specific frame. Without feet or head: just the trunk. It somewhat resembles the trees I encounter on the way, of which I do not perceive either the root or the canopy, I only observe what is at eye level. A tree-body that, although alive, serves as support inviting us to think about the relationship between surface and interiority. Is there any correspondence between the forms we see passing through the artist’s body and her internal movements? Digestion, breathing, concentration, thoughts?
I pass by a burger joint with two occupied tables. I reach a brightly lit gas station. I dodge the cars, the people at the tables on the sidewalk. The pharmacy, I notice, is open. I turn left again, down a very dark street, but one that I consider safe at this time. I don’t want to go back the same way.
The gates and windows that accompany my walk remind me of the small interventions that the artist made in the gallery’s architecture. I see metal grilles, cobogós, barbed wire spiraled on top of the high wall, and even a smoked glass window. In the gallery, Lia did not create a completely closed environment. But, in a way, she built an interiority in that void which, in the architectural project, functions as a space of articulation and communication between the others. What’s inside each of these houses I’m passing now? Is there someone watching TV? A child crying? In the gallery, we see a more secluded space, a delicate, protected environment, a twilight illuminated only by the TV light.
I return to the relationship between drawing and support by observing the graffiti and the street art: is it me passing by them or are they passing by me? It amuses me to think that my body is also impregnated by the drawings and graphics of the city. Lia’s work has already taught me that the city is a support, as much as a canvas stretched on a frame. In this darker area of the route, I’m not sure if I should quicken my pace, keep it at the same frequency, or even walk slower and more carefully to avoid stumbling. I pass by my son’s first school. This leads me to another video in the exhibition, “Drawing with,” a work in which mother and daughters create a mirrored drawing. Both follow the same path, one copying the other. But the result is always slightly different. That short distance of a few meters that separated my house from the school, done automatically by me, in the rush of days, work, deadlines, bills, was, for my son, in pandemic times, his entire circulation in public space. Surrounded by novelties, apprehension, and challenges.
I pass by the back gate of my own house, the starting point of this walk. Just like Lia’s video, “Dancing Drawing,” front and back are presented, but never simultaneously. The drawings projected on her body overlap it in a way that brings these two presences together, makes them inhabit the same space. In the video montage, the two screens are placed back to back as if swallowing the volume of the body. I postpone for a moment the return home because I feel there is more to be thought about. I extend the walk to the other corner, even knowing that on the way back I will walk the same sidewalk, so as not to excessively extend the walk. The smell of the pizzeria on the corner reminds me that I haven’t had dinner yet. I return on the same side I came from. If we take this walk of mine as a drawing, the line I trace now would pass over the other.
On the second floor, the exhibition becomes more abstract, separating itself further from the image of the physical, human body, as we recognize it. We no longer see the artist’s body, her feminine forms, her softness, her beauty. But something strong remains of it, the spinal column, which our species shares with so many others. The Organoids are formed by plates made of the same material as the hands from “How are you?..” They are rounded, flat shapes that hang from the ceiling creating a vertical line. In each piece – or vertebra – we see, painted, organic structures: blood, cells, membranes, nerves, muscle, fat are some of the words that come to mind trying to decipher what those small articulated parts condense. A variety of tissues forming that expand vertically, being the base of this still under construction organism. In “Vertebra by Vertebra” the spine is dismembered, rearticulated, fragmented, mixed with others. It gradually loses its supporting function. There is something in them that reminds me of Warhol’s dance diagrams, but this dance performed by the columns is also a shuffle, confusion, dissolution. Movements impossible for the human body.
I am standing in front of my house. Is it time to go in? In front of my gate, observing the car tires, the marks they leave on the asphalt, I also see there Lia’s vertebrae, scattered throughout the city. The rain seems to want to fall on this hot night. The drawing I just traced on the sidewalks can dissolve, or change, taking unexpected forms. There is something of this imminent dissolution in the large panel of drawings that Lia sets up on the first floor. We see there the movement of hands, loose, rhythmic. A body’s deconditioning. Some of them were indeed made with the right hand (Lia is left-handed). They pulsate and propose articulations between themselves, but they do not close into a single signifier.
The sidewalk in front of my house has those black and white tiles that, arranged in a specific way, form the outlines of the State of São Paulo. A simple combination of black tiles, white tiles, and half black and half white tiles, dividing the tile diagonally, creating a geometric, modular design with precise angles. Lia’s drawings go in another direction, use colors, create textures, seem to be in motion, relate to each other like beings that attract and repel each other. Organic forms that mix fauna, flora, microorganisms… I open the door and I’m already in the garden of the house, with its plants, trees, spider webs, insects, flowers. A winding walkway leads me inside the house.
Em conversas sobre a sua exposição , quando Lia Chaia me contou que daria o título de “Contratempo” a ela, clarificou-me uma linha de pensamento para refletir sobre a mostra, uma linha que aproximasse trabalhos distintos: os contratempos são os resultados de uma 2ª natureza alcançada pela civilização na contemporaneidade.
1. Para realizar o vídeo “Aleph”, Lia Chaia procurou um pedaço árido da cidade de São Paulo que fosse muito parecido com outras metrópoles do mundo e um exemplo de um tipo insalubre de urbanização que extinguiu a vegetação. A vastidão urbana, que sobrepõe centro e periferia, foi sintetizada numa pequena esfera de vidro, produto da engenharia industrial.
2. Nessa atual exposição, “Contratempo”, a artista está às voltas com alguns temas que a perseguem continuamente: a natureza, o corpo, a cultura e a civilização urbana.
3. Para dar conta dessa complexa trama de questões, ela faz uso de múltiplas práticas das artes visuais baseadas no desenho, na fotografia, no tridimensional, no vídeo e na instalação. Dessa vez, deixa de lado a performance. Verifica-se, assim, que a obra de Lia Chaia vem se realizando por meio de inúmeros entrecruzamentos de linguagem, de suportes e de preocupações. Afinal, como indagar o mundo contemporâneo sem acionar múltiplas percepções e recursos?
4. Frente a essa heterogeneidade, algumas amarrações imprimem unidade à obra de Lia Chaia. O primeiro aspecto que se sobressai de imediato, a uma primeira mirada, é a presença de uma identificável poética que perpassa todos os seus trabalhos. Pode-se dizer que a artista elabora uma poética que articula formas, ressalta a expressividade das matérias e destaca a representação de imagens.
5. Num segundo momento, para além da visualidade, Lia Chaia levanta questões que se escondem recatadamente por baixo de cada trabalho e imprimem aproximações entre suas obras. A artista defronta-se com as contingências da vida e preocupa-se com a natureza e a cultura não a partir de uma ótica interna a cada uma delas, mas sim tomando como perspectiva o impacto da civilização urbana sobre elas.
6. Essas preocupações estão quase sempre permeadas pelo humor, num tom baixo, exposto seja na forma, seja no assunto. Desde “Madrugada”, 2002, passando por “Da sorte dos que gozam”, 2002, “Folíngua”, 2003, até “Setamancos”, 2009, percebe-se um ar bem-humorado que imprime aos trabalhos um certo estranhamento, apontando para algo fora do lugar.
7. Lia Chaia indaga sobre os danos causados por um determinado tipo de sociedade, aquela que abandonou gradativamente a natureza original e criou uma outra natureza. Daí a centralidade do assunto corpo humano para a artista que, acompanhando Michel Foucault, entende o corpo como local de inscrição dos acontecimentos. Assim, nos seus trabalhos, homem, natureza, cultura e cidade se complementam, mas também entram em situações de tensões: o corpo destituído em “Madrugada”, 2002; o mar em desequilíbrio no vídeo “Desorientação”, 2001; o horizonte urbano cimentado em “Horizonte”, 2003; o hibrido vegetal-humano em “Folíngua”, 2003; a vegetação destruída pela urbanização em “Árvores carecas”, 2006; a metamorfose do corpo em “Escápula pena pelo”, 2011.
8. Diante dessas questões, a obra de Lia Chaia tem por base a ideia de processo, tornando relevante a consideração do fluxo do tempo. Uma de suas primeiras performances, “Rede”, 2003, já antecipava tal preocupação, pois ela tinha como referência Santo Agostinho, o filósofo do tempo. Nessa tendência, cabe lembrar também “Trepadeira”, 2003, com uma série de imagens fotográficas e desenhos que captam a natureza se alterando no transcorrer das quatro estações do ano. Outro trabalho paradigmático é o vídeo “Desenho corpo”, 2001, no qual risca seu corpo, durante 51 minutos, até acabar a carga da caneta.
9. A artista retém a passagem do tempo para retirar desse processo o significado inevitável das transformações das coisas e captar as marcas do domínio do homem sobre a natureza: veja-se a série “Fóssil”, fotografias de 2003, realizadas no México.
10. Nessa atual exposição, “Contratempo”, Lia Chaia reafirma sua preocupação com os sentidos adquiridos pelas transformações a que estão submetidas as vidas humana, animal e vegetal, frente aos contratempos suscitados no ambiente.
11. Os seus trabalhos fornecem pistas de que foi ultrapassado o estágio da natureza original e, agora, experimenta-se uma 2ª natureza. O ser humano e a civilização distanciaram-se gradativamente da natureza, processo este de afastamento, que gera contratempos.
12. Nessa exposição, a instalação “A queda“ recupera a imagem poética das folhas caídas e esparramadas pelo chão, mas efetivamente Lia Chaia nos faz defrontar com a mudança de situação e do esta