With: Adriano Motta and Paulo Vivacqua (DFTO), Maneno Llinkarimachiq, Virgilio Bahde
According to Cadu, Bando ou Hic Sunt Leones represents an attempt to negotiate the exuberant and terrible changes we have been through in recent years. There is an overlapping of personal and collective cycles still unexplained, but if the mythical past offers no explanation, in its chimeras, at least it helps us in coexisting with tomorrow.
Cadu’s practice is marked by a transdisciplinary approach. Each project emerges according to conceptual characteristics, with no pre-selection of languages or techniques. His repertoire includes performances, installations, drawings, paintings, objects, sculptures and videos influenced by themes related to systems, repetition, games, time and circularity. His works celebrate the relationship between man and nature, between the rational and the instinctive, between chaos and rigor.
Bando ou Hic Sunt Leones counts on the participation of several of the partners with whom Cadu has carried out his research on a regular basis. Collaborations and partnerships that, from the beginning of his career, have shaped hybrid projects linked to climate and environmental issues, research on materials and the ways to use them. This practice, motivated by the constant search for previously unseen developments in the respective trajectories of the artists, results in the exchanging of skills and knowledge.
In Bando ou Hic Sunt Leones, Cadu shares the authorship of the works with artists Adriano Motta and Paulo Vivacqua (DFTO), Maneno Llinkarimachiq and Virgilio Bahde.
With: Adriano Motta and Paulo Vivacqua (DFTO), Maneno Llinkarimachiq, Virgilio Bahde
According to Cadu, Bando ou Hic Sunt Leones represents an attempt to negotiate the exuberant and terrible changes we have been through in recent years. There is an overlapping of personal and collective cycles still unexplained, but if the mythical past offers no explanation, in its chimeras, at least it helps us in coexisting with tomorrow.
Cadu’s practice is marked by a transdisciplinary approach. Each project emerges according to conceptual characteristics, with no pre-selection of languages or techniques. His repertoire includes performances, installations, drawings, paintings, objects, sculptures and videos influenced by themes related to systems, repetition, games, time and circularity. His works celebrate the relationship between man and nature, between the rational and the instinctive, between chaos and rigor.
Bando ou Hic Sunt Leones counts on the participation of several of the partners with whom Cadu has carried out his research on a regular basis. Collaborations and partnerships that, from the beginning of his career, have shaped hybrid projects linked to climate and environmental issues, research on materials and the ways to use them. This practice, motivated by the constant search for previously unseen developments in the respective trajectories of the artists, results in the exchanging of skills and knowledge.
In Bando ou Hic Sunt Leones, Cadu shares the authorship of the works with artists Adriano Motta and Paulo Vivacqua (DFTO), Maneno Llinkarimachiq and Virgilio Bahde.















































Photo Filipe Berndt
Shells, laser engraving and acrylic
Photo Filipe Berndt
The pieces from this series take its name from the limestone structure that forms the shells of several species of bivalve mollusks. The crimson hue associated with the skin and mucous membranes when they are excited.
Mussel shells were engraved in laser, in one piece with drawings that illustrate a “fencing” of hands wielding scissors, in a direct allusion to romantic relationships; in another with marine motifs.
11 x 30,5 x 8,5 cm
Shells, laser engraving and acrylic
Photo Filipe BerndtThe pieces from this series take its name from the limestone structure that forms the shells of several species of bivalve mollusks. The crimson hue associated with the skin and mucous membranes when they are excited.
Mussel shells were engraved in laser, in one piece with drawings that illustrate a “fencing” of hands wielding scissors, in a direct allusion to romantic relationships; in another with marine motifs.
Shells, laser engraving and acrylic
Photo Filipe Berndt
The pieces from this series take its name from the limestone structure that forms the shells of several species of bivalve mollusks. The crimson hue associated with the skin and mucous membranes when they are excited.
Mussel shells were engraved in laser, in one piece with drawings that illustrate a “fencing” of hands wielding scissors, in a direct allusion to romantic relationships; in another with marine motifs.
11 x 30,5 x 8,5 cm
Shells, laser engraving and acrylic
Photo Filipe BerndtThe pieces from this series take its name from the limestone structure that forms the shells of several species of bivalve mollusks. The crimson hue associated with the skin and mucous membranes when they are excited.
Mussel shells were engraved in laser, in one piece with drawings that illustrate a “fencing” of hands wielding scissors, in a direct allusion to romantic relationships; in another with marine motifs.
Shells, laser engraving and acrylic
Photo Filipe Berndt
The pieces from this series take its name from the limestone structure that forms the shells of several species of bivalve mollusks. The crimson hue associated with the skin and mucous membranes when they are excited.
Mussel shells were engraved in laser, in one piece with drawings that illustrate a “fencing” of hands wielding scissors, in a direct allusion to romantic relationships; in another with marine motifs.
11 x 30,5 x 8,5 cm
Shells, laser engraving and acrylic
Photo Filipe BerndtThe pieces from this series take its name from the limestone structure that forms the shells of several species of bivalve mollusks. The crimson hue associated with the skin and mucous membranes when they are excited.
Mussel shells were engraved in laser, in one piece with drawings that illustrate a “fencing” of hands wielding scissors, in a direct allusion to romantic relationships; in another with marine motifs.
Shells, laser engraving and acrylic
Photo Filipe Berndt
The pieces from this series take its name from the limestone structure that forms the shells of several species of bivalve mollusks. The crimson hue associated with the skin and mucous membranes when they are excited.
Mussel shells were engraved in laser, in one piece with drawings that illustrate a “fencing” of hands wielding scissors, in a direct allusion to romantic relationships; in another with marine motifs.
13 x 46 x 8,5 cm
Shells, laser engraving and acrylic
Photo Filipe BerndtThe pieces from this series take its name from the limestone structure that forms the shells of several species of bivalve mollusks. The crimson hue associated with the skin and mucous membranes when they are excited.
Mussel shells were engraved in laser, in one piece with drawings that illustrate a “fencing” of hands wielding scissors, in a direct allusion to romantic relationships; in another with marine motifs.
Photo Filipe Berndt
Photo Filipe Berndt
Fiberglass, wood, paraffin, cymbals, microphones, speaker and soundboard
Photo Filipe Berndt
The saying that gives the piece its name expresses good fortune in German. The direct translation into Portuguese is “had a pig”, but Google Translate itself suggests, as an answer, “by luck”. Owning the animal is a sign of provisions for periods of scarcity. Even though pork is a taboo for Jews and Arabs, it is the most consumed meat in the world. It is the one offered to
Omolu, the Orisha who brings the plague, but also the cure. Bad politicians and policemen are besmirched with its name. In “Ceia Dominicana: Romance Neolatino”,
by the writer Reinaldo Santos Neves, from Espírito Santo, there is the “Trojan pig”, a dish served at dinner in the residence of one of the characters. It is filled with disgusting and appetizing delicacies. The perfect synthesis of the coexistence between opposites. It was at the end of the Year of the Pig, according to the Chinese calendar, that the Covid-19 pandemic began.
Fiberglass, wood, paraffin, cymbals, microphones, speaker and soundboard
Photo Filipe BerndtThe saying that gives the piece its name expresses good fortune in German. The direct translation into Portuguese is “had a pig”, but Google Translate itself suggests, as an answer, “by luck”. Owning the animal is a sign of provisions for periods of scarcity. Even though pork is a taboo for Jews and Arabs, it is the most consumed meat in the world. It is the one offered to
Omolu, the Orisha who brings the plague, but also the cure. Bad politicians and policemen are besmirched with its name. In “Ceia Dominicana: Romance Neolatino”,
by the writer Reinaldo Santos Neves, from Espírito Santo, there is the “Trojan pig”, a dish served at dinner in the residence of one of the characters. It is filled with disgusting and appetizing delicacies. The perfect synthesis of the coexistence between opposites. It was at the end of the Year of the Pig, according to the Chinese calendar, that the Covid-19 pandemic began.
Photo Marco Rezende
Fiberglass, wood, paraffin, cymbals, microphones, speaker and soundboard
Photo Filipe Berndt
The saying that gives the piece its name expresses good fortune in German. The direct translation into Portuguese is “had a pig”, but Google Translate itself suggests, as an answer, “by luck”. Owning the animal is a sign of provisions for periods of scarcity. Even though pork is a taboo for Jews and Arabs, it is the most consumed meat in the world. It is the one offered to
Omolu, the Orisha who brings the plague, but also the cure. Bad politicians and policemen are besmirched with its name. In “Ceia Dominicana: Romance Neolatino”,
by the writer Reinaldo Santos Neves, from Espírito Santo, there is the “Trojan pig”, a dish served at dinner in the residence of one of the characters. It is filled with disgusting and appetizing delicacies. The perfect synthesis of the coexistence between opposites. It was at the end of the Year of the Pig, according to the Chinese calendar, that the Covid-19 pandemic began.
Fiberglass, wood, paraffin, cymbals, microphones, speaker and soundboard
Photo Filipe BerndtThe saying that gives the piece its name expresses good fortune in German. The direct translation into Portuguese is “had a pig”, but Google Translate itself suggests, as an answer, “by luck”. Owning the animal is a sign of provisions for periods of scarcity. Even though pork is a taboo for Jews and Arabs, it is the most consumed meat in the world. It is the one offered to
Omolu, the Orisha who brings the plague, but also the cure. Bad politicians and policemen are besmirched with its name. In “Ceia Dominicana: Romance Neolatino”,
by the writer Reinaldo Santos Neves, from Espírito Santo, there is the “Trojan pig”, a dish served at dinner in the residence of one of the characters. It is filled with disgusting and appetizing delicacies. The perfect synthesis of the coexistence between opposites. It was at the end of the Year of the Pig, according to the Chinese calendar, that the Covid-19 pandemic began.
Photo Filipe Berndt
Nitrocellulose lacquer, primer, acrylic varnish and MDF
Photo Filipe Berndt
The space of Cadu’s studio is shared with a company that provides various services in the field of design and execution of artistic works, Artes e Ofícios, located in the neighborhood of São Cristóvão (RJ). There, many of the pieces produced are finished with painting in a specific chamber. The objects are propped on a structure that absorbs the preparatory foundations, paints and varnishes. After three years of accumulating these materials, the resulting circular solid shape was sawed off. The cut revealed countless layers of paint, an artificial topology that brings us closer to geological cycles. A new block has been in formation since the second half of 2020, constituting a system restarted periodically.
16,5 x 55,5 x 8,5 cm
Nitrocellulose lacquer, primer, acrylic varnish and MDF
Photo Filipe BerndtThe space of Cadu’s studio is shared with a company that provides various services in the field of design and execution of artistic works, Artes e Ofícios, located in the neighborhood of São Cristóvão (RJ). There, many of the pieces produced are finished with painting in a specific chamber. The objects are propped on a structure that absorbs the preparatory foundations, paints and varnishes. After three years of accumulating these materials, the resulting circular solid shape was sawed off. The cut revealed countless layers of paint, an artificial topology that brings us closer to geological cycles. A new block has been in formation since the second half of 2020, constituting a system restarted periodically.
Nitrocellulose lacquer, primer, acrylic varnish and MDF
Photo Filipe Berndt
The space of Cadu’s studio is shared with a company that provides various services in the field of design and execution of artistic works, Artes e Ofícios, located in the neighborhood of São Cristóvão (RJ). There, many of the pieces produced are finished
with painting in a specific chamber. The objects are propped on a structure that absorbs the preparatory foundations, paints and varnishes. After three years
of accumulating these materials, the resulting circular solid shape was sawed off. The cut revealed countless layers of paint, an artificial topology that brings us closer to geological cycles. A new block has been in formation since the second half of 2020, constituting a system restarted periodically.
16,5 x 55,5 x 8,5 cm
Nitrocellulose lacquer, primer, acrylic varnish and MDF
Photo Filipe BerndtThe space of Cadu’s studio is shared with a company that provides various services in the field of design and execution of artistic works, Artes e Ofícios, located in the neighborhood of São Cristóvão (RJ). There, many of the pieces produced are finished
with painting in a specific chamber. The objects are propped on a structure that absorbs the preparatory foundations, paints and varnishes. After three years
of accumulating these materials, the resulting circular solid shape was sawed off. The cut revealed countless layers of paint, an artificial topology that brings us closer to geological cycles. A new block has been in formation since the second half of 2020, constituting a system restarted periodically.
Nitrocellulose lacquer, primer, acrylic varnish and MDF
Photo Filipe Berndt
The space of Cadu’s studio is shared with a company that provides various services in the field of design and execution of artistic works, Artes e Ofícios, located in the neighborhood of São Cristóvão (RJ). There, many of the pieces produced are finished
with painting in a specific chamber. The objects are propped on a structure that absorbs the preparatory foundations, paints and varnishes. After three years
of accumulating these materials, the resulting circular solid shape was sawed off. The cut revealed countless layers of paint, an artificial topology that brings us closer to geological cycles. A new block has been in formation since the second half of 2020, constituting a system restarted periodically.
16,5 x 79 x 8,5 cm
Nitrocellulose lacquer, primer, acrylic varnish and MDF
Photo Filipe BerndtThe space of Cadu’s studio is shared with a company that provides various services in the field of design and execution of artistic works, Artes e Ofícios, located in the neighborhood of São Cristóvão (RJ). There, many of the pieces produced are finished
with painting in a specific chamber. The objects are propped on a structure that absorbs the preparatory foundations, paints and varnishes. After three years
of accumulating these materials, the resulting circular solid shape was sawed off. The cut revealed countless layers of paint, an artificial topology that brings us closer to geological cycles. A new block has been in formation since the second half of 2020, constituting a system restarted periodically.
Nitrocellulose lacquer, primer, acrylic varnish and MDF
Photo Filipe Berndt
The space of Cadu’s studio is shared with a company that provides various services in the field of design and execution of artistic works, Artes e Ofícios, located in the neighborhood of São Cristóvão (RJ). There, many of the pieces produced are finished
with painting in a specific chamber. The objects are propped on a structure that absorbs the preparatory foundations, paints and varnishes. After three years
of accumulating these materials, the resulting circular solid shape was sawed off. The cut revealed countless layers of paint, an artificial topology that brings us closer to geological cycles. A new block has been in formation since the second half of 2020, constituting a system restarted periodically.
16,5 x 79 x 8,5 cm
Nitrocellulose lacquer, primer, acrylic varnish and MDF
Photo Filipe BerndtThe space of Cadu’s studio is shared with a company that provides various services in the field of design and execution of artistic works, Artes e Ofícios, located in the neighborhood of São Cristóvão (RJ). There, many of the pieces produced are finished
with painting in a specific chamber. The objects are propped on a structure that absorbs the preparatory foundations, paints and varnishes. After three years
of accumulating these materials, the resulting circular solid shape was sawed off. The cut revealed countless layers of paint, an artificial topology that brings us closer to geological cycles. A new block has been in formation since the second half of 2020, constituting a system restarted periodically.
Photo Filipe Berndt
Grafite, óleo de linhaça e colagem sobre papel
Photo Filipe Berndt
Zeus tem a águia, Hera a mim
Duas aves de ver
Um amor triste velo
Vulto de mulher
Prometido para coisas maiores
Incorporo Argos decapitado
Não desejo mais do que tenho
Apenas o que foi furtado
16,5 x 79 x 8,5 cm
Grafite, óleo de linhaça e colagem sobre papel
Photo Filipe BerndtZeus tem a águia, Hera a mim
Duas aves de ver
Um amor triste velo
Vulto de mulher
Prometido para coisas maiores
Incorporo Argos decapitado
Não desejo mais do que tenho
Apenas o que foi furtado
Graphite, linseed oil and collage on paper
Photo Marco Rezende
Zeus tem a águia, Hera a mim
Duas aves de ver
Um amor triste velo
Vulto de mulher
Prometido para coisas maiores
Incorporo Argos decapitado
Não desejo mais do que tenho
Apenas o que foi furtado
16,5 x 79 x 8,5 cm
Graphite, linseed oil and collage on paper
Photo Marco RezendeZeus tem a águia, Hera a mim
Duas aves de ver
Um amor triste velo
Vulto de mulher
Prometido para coisas maiores
Incorporo Argos decapitado
Não desejo mais do que tenho
Apenas o que foi furtado
Graphite, linseed oil and collage on paper
Photo Filipe Berndt
Meia noite
Os morcegos passeiam
Cegos videntes
Buscam néctar nos cachos
Como o toque entre
171 x 152 cm
Graphite, linseed oil and collage on paper
Photo Filipe BerndtMeia noite
Os morcegos passeiam
Cegos videntes
Buscam néctar nos cachos
Como o toque entre
Graphite, linseed oil and collage on paper
Photo Filipe Berndt
Meia noite
Os morcegos passeiam
Cegos videntes
Buscam néctar nos cachos
Como o toque entre
171 x 152 cm
Graphite, linseed oil and collage on paper
Photo Filipe BerndtMeia noite
Os morcegos passeiam
Cegos videntes
Buscam néctar nos cachos
Como o toque entre
Photo Filipe Berndt
Copper, nickel, onyx, wood, copper sulfide, iron ore and horse bones
Photo Filipe Berndt
Abraxas composes the sculptural set made since 2019 in co-authorship with the jeweler and artist Virgilio Bahde. In the book “Demian”, an initiatory novel by the writer Herman Hesse, the deity Abraxas is worshiped by the young characters, who become aware of the fragility of morals, the family and the State. The entity stands out for having human characteristics, being capable of exercising good and evil. We are faced with the improbable cultivation, through carving and metallurgy, of animal, vegetable and mineral possibilities, which confuse the eye due to the coexistence of the kingdoms comprising it.
163 x 75 x 53 cm
Copper, nickel, onyx, wood, copper sulfide, iron ore and horse bones
Photo Filipe BerndtAbraxas composes the sculptural set made since 2019 in co-authorship with the jeweler and artist Virgilio Bahde. In the book “Demian”, an initiatory novel by the writer Herman Hesse, the deity Abraxas is worshiped by the young characters, who become aware of the fragility of morals, the family and the State. The entity stands out for having human characteristics, being capable of exercising good and evil. We are faced with the improbable cultivation, through carving and metallurgy, of animal, vegetable and mineral possibilities, which confuse the eye due to the coexistence of the kingdoms comprising it.
Copper, nickel, onyx, wood, copper sulfide, iron ore and horse bones
Photo Vermelho
Abraxas composes the sculptural set made since 2019 in co-authorship with the jeweler and artist Virgilio Bahde. In the book “Demian”, an initiatory novel by the writer Herman Hesse, the deity Abraxas is worshiped by the young characters, who become aware of the fragility of morals, the family and the State. The entity stands out for having human characteristics, being capable of exercising good and evil. We are faced with the improbable cultivation, through carving and metallurgy, of animal, vegetable and mineral possibilities, which confuse the eye due to the coexistence of the kingdoms comprising it.
163 x 75 x 53 cm
Copper, nickel, onyx, wood, copper sulfide, iron ore and horse bones
Photo VermelhoAbraxas composes the sculptural set made since 2019 in co-authorship with the jeweler and artist Virgilio Bahde. In the book “Demian”, an initiatory novel by the writer Herman Hesse, the deity Abraxas is worshiped by the young characters, who become aware of the fragility of morals, the family and the State. The entity stands out for having human characteristics, being capable of exercising good and evil. We are faced with the improbable cultivation, through carving and metallurgy, of animal, vegetable and mineral possibilities, which confuse the eye due to the coexistence of the kingdoms comprising it.
Copper, nickel, onyx, wood, copper sulfide, iron ore and horse bones
Photo Filipe Berndt
Abraxas composes the sculptural set made since 2019 in co-authorship with the jeweler and artist Virgilio Bahde. In the book “Demian”, an initiatory novel by the writer Herman Hesse, the deity Abraxas is worshiped by the young characters, who become aware of the fragility of morals, the family and the State. The entity stands out for having human characteristics, being capable of exercising good and evil. We are faced with the improbable cultivation, through carving and metallurgy, of animal, vegetable and mineral possibilities, which confuse the eye due to the coexistence of the kingdoms comprising it.
163 x 75 x 53 cm
Copper, nickel, onyx, wood, copper sulfide, iron ore and horse bones
Photo Filipe BerndtAbraxas composes the sculptural set made since 2019 in co-authorship with the jeweler and artist Virgilio Bahde. In the book “Demian”, an initiatory novel by the writer Herman Hesse, the deity Abraxas is worshiped by the young characters, who become aware of the fragility of morals, the family and the State. The entity stands out for having human characteristics, being capable of exercising good and evil. We are faced with the improbable cultivation, through carving and metallurgy, of animal, vegetable and mineral possibilities, which confuse the eye due to the coexistence of the kingdoms comprising it.
Graphite, linseed oil and collage on paper
Photo Filipe Berndt
Quando o perigo ficar em duas patas
Meu canino em tua veia pintará estrelas
135 x 152 cm
Graphite, linseed oil and collage on paper
Photo Filipe BerndtQuando o perigo ficar em duas patas
Meu canino em tua veia pintará estrelas
Graphite, linseed oil and collage on paper
Photo Marco Rezende
Quando o perigo ficar em duas patas
Meu canino em tua veia pintará estrelas
135 x 152 cm
Graphite, linseed oil and collage on paper
Photo Marco RezendeQuando o perigo ficar em duas patas
Meu canino em tua veia pintará estrelas
Graphite, linseed oil and collage on paper
Photo Filipe Berndt
Bahamūt, o peixe, suporta em seu
lombo Kujata, o touro de quatrocentos
olhos, quatrocentos narizes,
quatrocentas bocas, quatrocentas
línguas, quatrocentos ouvidos e
quatrocentas patas. Entre cada uma
de suas partes há uma distância de
quinhentos anos de viagem.
O ruminante acolhe um rubi em suas
costas. Ali repousa um anjo. A deidade
sustenta os Sete Infernos, que sustenta
a Terra.
Acima dela, os Sete Céus.
157 x 152 cm
Graphite, linseed oil and collage on paper
Photo Filipe BerndtBahamūt, o peixe, suporta em seu
lombo Kujata, o touro de quatrocentos
olhos, quatrocentos narizes,
quatrocentas bocas, quatrocentas
línguas, quatrocentos ouvidos e
quatrocentas patas. Entre cada uma
de suas partes há uma distância de
quinhentos anos de viagem.
O ruminante acolhe um rubi em suas
costas. Ali repousa um anjo. A deidade
sustenta os Sete Infernos, que sustenta
a Terra.
Acima dela, os Sete Céus.
Graphite, linseed oil and collage on paper
Photo Marco Rezende
Bahamūt, o peixe, suporta em seu
lombo Kujata, o touro de quatrocentos
olhos, quatrocentos narizes,
quatrocentas bocas, quatrocentas
línguas, quatrocentos ouvidos e
quatrocentas patas. Entre cada uma
de suas partes há uma distância de
quinhentos anos de viagem.
O ruminante acolhe um rubi em suas
costas. Ali repousa um anjo. A deidade
sustenta os Sete Infernos, que sustenta
a Terra.
Acima dela, os Sete Céus.
157 x 152 cm
Graphite, linseed oil and collage on paper
Photo Marco RezendeBahamūt, o peixe, suporta em seu
lombo Kujata, o touro de quatrocentos
olhos, quatrocentos narizes,
quatrocentas bocas, quatrocentas
línguas, quatrocentos ouvidos e
quatrocentas patas. Entre cada uma
de suas partes há uma distância de
quinhentos anos de viagem.
O ruminante acolhe um rubi em suas
costas. Ali repousa um anjo. A deidade
sustenta os Sete Infernos, que sustenta
a Terra.
Acima dela, os Sete Céus.
Graphite, linseed oil and collage on paper
Photo Filipe Berndt
Seja amiga, noiva seja
Esposa, ninfa, santa ou deusa
Entre eles fole, tempo e areia
Uma questão de ampulheta
Contou que dera para dormir com
marinheiros agora
Assim velejava
Iemanjava
Vênus dá, Vênus tira
Salmouras de cais
Mas tudo pode mudar no malavrar
No danar
No nadar no nada mar
E ela… pode até a cortesia de voltar
160 x 152 cm
Graphite, linseed oil and collage on paper
Photo Filipe BerndtSeja amiga, noiva seja
Esposa, ninfa, santa ou deusa
Entre eles fole, tempo e areia
Uma questão de ampulheta
Contou que dera para dormir com
marinheiros agora
Assim velejava
Iemanjava
Vênus dá, Vênus tira
Salmouras de cais
Mas tudo pode mudar no malavrar
No danar
No nadar no nada mar
E ela… pode até a cortesia de voltar
Graphite, linseed oil and collage on paper
Photo Marco Rezende
Seja amiga, noiva seja
Esposa, ninfa, santa ou deusa
Entre eles fole, tempo e areia
Uma questão de ampulheta
Contou que dera para dormir com
marinheiros agora
Assim velejava
Iemanjava
Vênus dá, Vênus tira
Salmouras de cais
Mas tudo pode mudar no malavrar
No danar
No nadar no nada mar
E ela… pode até a cortesia de voltar
160 x 152 cm
Graphite, linseed oil and collage on paper
Photo Marco RezendeSeja amiga, noiva seja
Esposa, ninfa, santa ou deusa
Entre eles fole, tempo e areia
Uma questão de ampulheta
Contou que dera para dormir com
marinheiros agora
Assim velejava
Iemanjava
Vênus dá, Vênus tira
Salmouras de cais
Mas tudo pode mudar no malavrar
No danar
No nadar no nada mar
E ela… pode até a cortesia de voltar
Graphite, linseed oil and collage on paper
Photo Filipe Berndt
O coelho à Alice:
Você me pergunta como o relógio funciona
Por enquanto apenas observemos as horas
O dia está ainda pelo umbigo
197 x 152 cm
Graphite, linseed oil and collage on paper
Photo Filipe BerndtO coelho à Alice:
Você me pergunta como o relógio funciona
Por enquanto apenas observemos as horas
O dia está ainda pelo umbigo
Graphite, linseed oil and collage on paper
Photo Marco Rezende
O coelho à Alice:
Você me pergunta como o relógio funciona
Por enquanto apenas observemos as horas
O dia está ainda pelo umbigo
197 x 152 cm
Graphite, linseed oil and collage on paper
Photo Marco RezendeO coelho à Alice:
Você me pergunta como o relógio funciona
Por enquanto apenas observemos as horas
O dia está ainda pelo umbigo
Photo Filipe Berndt
Clay, wood and felt
Photo Filipe Berndt
Sixteen whistles divided into two sets are positioned in the gallery at a relative distance from each other, serving as a vehicle for pneumatic dialogues. The sculptures produce musical notes, ranging from high to low, from scream to whisper. Clamors that can be orchestrated while we emulate the first gesture of the creator, who breathed life unto us by blowing the clay.
2 sets with 134 x 50 x 100 cm
Clay, wood and felt
Photo Filipe BerndtSixteen whistles divided into two sets are positioned in the gallery at a relative distance from each other, serving as a vehicle for pneumatic dialogues. The sculptures produce musical notes, ranging from high to low, from scream to whisper. Clamors that can be orchestrated while we emulate the first gesture of the creator, who breathed life unto us by blowing the clay.
Clay, wood and felt
Photo Filipe Berndt
Sixteen whistles divided into two sets are positioned in the gallery at a relative distance from each other, serving as a vehicle for pneumatic dialogues. The sculptures produce musical notes, ranging from high to low, from scream to whisper. Clamors that can be orchestrated while we emulate the first gesture of the creator, who breathed life unto us by blowing the clay.
2 sets with 134 x 50 x 100 cm
Clay, wood and felt
Photo Filipe BerndtSixteen whistles divided into two sets are positioned in the gallery at a relative distance from each other, serving as a vehicle for pneumatic dialogues. The sculptures produce musical notes, ranging from high to low, from scream to whisper. Clamors that can be orchestrated while we emulate the first gesture of the creator, who breathed life unto us by blowing the clay.
Photo Filipe Berndt
Clay whistles powered by water and wood structure
Photo Filipe Berndt
There is a traditional Peruvian clay modeling technique for building water-powered sounding vases. Maneno Llinkarimachiq, a renowned ceramist from the Chulicana community, has created, on an unprecedented scale, three pairs of these in different sizes. They are manually activated by a mechanism similar to a seesaw. The liquid in their interiors pushes the air out, which in turn blows the whistles located in the upper part of the structures. They are traditionally decorated with birds’ heads. This fact contributed to the title given to the work.
2 sets with 134 x 50 x 100 cm
Clay whistles powered by water and wood structure
Photo Filipe BerndtThere is a traditional Peruvian clay modeling technique for building water-powered sounding vases. Maneno Llinkarimachiq, a renowned ceramist from the Chulicana community, has created, on an unprecedented scale, three pairs of these in different sizes. They are manually activated by a mechanism similar to a seesaw. The liquid in their interiors pushes the air out, which in turn blows the whistles located in the upper part of the structures. They are traditionally decorated with birds’ heads. This fact contributed to the title given to the work.
Clay whistles powered by water and wood structure
Photo Filipe Berndt
There is a traditional Peruvian clay modeling technique for building water-powered sounding vases. Maneno Llinkarimachiq, a renowned ceramist from the Chulicana community, has created, on an unprecedented scale, three pairs of these in different sizes. They are manually activated by a mechanism similar to a seesaw. The liquid in their interiors pushes the air out, which in turn blows the whistles located in the upper part of the structures. They are traditionally decorated with birds’ heads. This fact contributed to the title given to the work.
2 sets with 134 x 50 x 100 cm
Clay whistles powered by water and wood structure
Photo Filipe BerndtThere is a traditional Peruvian clay modeling technique for building water-powered sounding vases. Maneno Llinkarimachiq, a renowned ceramist from the Chulicana community, has created, on an unprecedented scale, three pairs of these in different sizes. They are manually activated by a mechanism similar to a seesaw. The liquid in their interiors pushes the air out, which in turn blows the whistles located in the upper part of the structures. They are traditionally decorated with birds’ heads. This fact contributed to the title given to the work.
Photo Filipe Berndt
Copper and wood
Photo Filipe Berndt
In the mining industry, Ganga is the name given to the impurities present in the metal to be refined. The etymological origin of its African matrix is derived from the term Nganga, which denominates the chief sorcerer of the old cabinda yards. For apparent and at first unrelated reasons, the word preserves its earthly meaning in both cases, maintaining a relationship with the matter extracted from the soil for the acquisition of power, or with the one who holds power by controlling a territory.
Perseus, when he cut off the Gorgon’s head and dragged it over the Ethiopian coast, precipitated the emergence of Pegasus, which he will ride in some versions of the myth, and corals, which will adorn the curls of the nymphs. By the presence of an aqueous fluid, she who transformed everything into stone transfers its terrible mineralogy from one point to another, resulting in the appearance of unexpected adornments.
This succession of magical images and narratives, alternating appearance and disappearance, horror and beauty, dilution and coagulation, serves as inspiration for this sculpture project. Using the electroplating technique, which consists of coating a piece with metal when both are immersed
in a chemical solution electrified by direct current, a series of hooks are transformed into new objects. Usually associated with violence, hunting and temptation, hooks have their structure modified by the addition of layers that, originating from an anode (a metallic piece that dissolves itself), transform them into controlled but unpredictable accumulations of material deposition.
52 x 290 x 12 cm - set
Copper and wood
Photo Filipe BerndtIn the mining industry, Ganga is the name given to the impurities present in the metal to be refined. The etymological origin of its African matrix is derived from the term Nganga, which denominates the chief sorcerer of the old cabinda yards. For apparent and at first unrelated reasons, the word preserves its earthly meaning in both cases, maintaining a relationship with the matter extracted from the soil for the acquisition of power, or with the one who holds power by controlling a territory.
Perseus, when he cut off the Gorgon’s head and dragged it over the Ethiopian coast, precipitated the emergence of Pegasus, which he will ride in some versions of the myth, and corals, which will adorn the curls of the nymphs. By the presence of an aqueous fluid, she who transformed everything into stone transfers its terrible mineralogy from one point to another, resulting in the appearance of unexpected adornments.
This succession of magical images and narratives, alternating appearance and disappearance, horror and beauty, dilution and coagulation, serves as inspiration for this sculpture project. Using the electroplating technique, which consists of coating a piece with metal when both are immersed
in a chemical solution electrified by direct current, a series of hooks are transformed into new objects. Usually associated with violence, hunting and temptation, hooks have their structure modified by the addition of layers that, originating from an anode (a metallic piece that dissolves itself), transform them into controlled but unpredictable accumulations of material deposition.
Copper and wood
Photo Filipe Berndt
In the mining industry, Ganga is the name given to the impurities present in the metal to be refined. The etymological origin of its African matrix is derived from the term Nganga, which denominates the chief sorcerer of the old cabinda yards. For apparent and at first unrelated reasons, the word preserves its earthly meaning in both cases, maintaining a relationship with the matter extracted from the soil for the acquisition of power, or with the one who holds power by controlling a territory.
Perseus, when he cut off the Gorgon’s head and dragged it over the Ethiopian coast, precipitated the emergence of Pegasus, which he will ride in some versions of the myth, and corals, which will adorn the curls of the nymphs. By the presence of an aqueous fluid, she who transformed everything into stone transfers its terrible mineralogy from one point to another, resulting in the appearance of unexpected adornments.
This succession of magical images and narratives, alternating appearance and disappearance, horror and beauty, dilution and coagulation, serves as inspiration for this sculpture project. Using the electroplating technique, which consists of coating a piece with metal when both are immersed
in a chemical solution electrified by direct current, a series of hooks are transformed into new objects. Usually associated with violence, hunting and temptation, hooks have their structure modified by the addition of layers that, originating from an anode (a metallic piece that dissolves itself), transform them into controlled but unpredictable accumulations of material deposition.
52 x 290 x 12 cm - set
Copper and wood
Photo Filipe BerndtIn the mining industry, Ganga is the name given to the impurities present in the metal to be refined. The etymological origin of its African matrix is derived from the term Nganga, which denominates the chief sorcerer of the old cabinda yards. For apparent and at first unrelated reasons, the word preserves its earthly meaning in both cases, maintaining a relationship with the matter extracted from the soil for the acquisition of power, or with the one who holds power by controlling a territory.
Perseus, when he cut off the Gorgon’s head and dragged it over the Ethiopian coast, precipitated the emergence of Pegasus, which he will ride in some versions of the myth, and corals, which will adorn the curls of the nymphs. By the presence of an aqueous fluid, she who transformed everything into stone transfers its terrible mineralogy from one point to another, resulting in the appearance of unexpected adornments.
This succession of magical images and narratives, alternating appearance and disappearance, horror and beauty, dilution and coagulation, serves as inspiration for this sculpture project. Using the electroplating technique, which consists of coating a piece with metal when both are immersed
in a chemical solution electrified by direct current, a series of hooks are transformed into new objects. Usually associated with violence, hunting and temptation, hooks have their structure modified by the addition of layers that, originating from an anode (a metallic piece that dissolves itself), transform them into controlled but unpredictable accumulations of material deposition.
Copper and wood
Photo Filipe Berndt
In the mining industry, Ganga is the name given to the impurities present in the metal to be refined. The etymological origin of its African matrix is derived from the term Nganga, which denominates the chief sorcerer of the old cabinda yards. For apparent and at first unrelated reasons, the word preserves its earthly meaning in both cases, maintaining a relationship with the matter extracted from the soil for the acquisition of power, or with the one who holds power by controlling a territory.
Perseus, when he cut off the Gorgon’s head and dragged it over the Ethiopian coast, precipitated the emergence of Pegasus, which he will ride in some versions of the myth, and corals, which will adorn the curls of the nymphs. By the presence of an aqueous fluid, she who transformed everything into stone transfers its terrible mineralogy from one point to another, resulting in the appearance of unexpected adornments.
This succession of magical images and narratives, alternating appearance and disappearance, horror and beauty, dilution and coagulation, serves as inspiration for this sculpture project. Using the electroplating technique, which consists of coating a piece with metal when both are immersed
in a chemical solution electrified by direct current, a series of hooks are transformed into new objects. Usually associated with violence, hunting and temptation, hooks have their structure modified by the addition of layers that, originating from an anode (a metallic piece that dissolves itself), transform them into controlled but unpredictable accumulations of material deposition.
52 x 290 x 12 cm - set
Copper and wood
Photo Filipe BerndtIn the mining industry, Ganga is the name given to the impurities present in the metal to be refined. The etymological origin of its African matrix is derived from the term Nganga, which denominates the chief sorcerer of the old cabinda yards. For apparent and at first unrelated reasons, the word preserves its earthly meaning in both cases, maintaining a relationship with the matter extracted from the soil for the acquisition of power, or with the one who holds power by controlling a territory.
Perseus, when he cut off the Gorgon’s head and dragged it over the Ethiopian coast, precipitated the emergence of Pegasus, which he will ride in some versions of the myth, and corals, which will adorn the curls of the nymphs. By the presence of an aqueous fluid, she who transformed everything into stone transfers its terrible mineralogy from one point to another, resulting in the appearance of unexpected adornments.
This succession of magical images and narratives, alternating appearance and disappearance, horror and beauty, dilution and coagulation, serves as inspiration for this sculpture project. Using the electroplating technique, which consists of coating a piece with metal when both are immersed
in a chemical solution electrified by direct current, a series of hooks are transformed into new objects. Usually associated with violence, hunting and temptation, hooks have their structure modified by the addition of layers that, originating from an anode (a metallic piece that dissolves itself), transform them into controlled but unpredictable accumulations of material deposition.
Photo Filipe Berndt
Digital video
The Dada Fidget Toy Orchestra (DFTO) group explores digital modeling and animation technologies in order to create works of art. There is an irreversible bias of the information economy towards metaverses, and the three artists, who have been collaborating for years, got together to explore this recent condition. In a process of collage, the project combines digital models acquired from virtual stores, collections of scientific institutions or downloaded for free on the internet, overlapping references from mass- and high-culture.
The film’s narrative presents views of an archipelago formed by monuments and topography resulting from the hybridization of these collections.
Fidget is the English term for compulsive and repetitive movements in episodes of nervousness.
Digital video
The Dada Fidget Toy Orchestra (DFTO) group explores digital modeling and animation technologies in order to create works of art. There is an irreversible bias of the information economy towards metaverses, and the three artists, who have been collaborating for years, got together to explore this recent condition. In a process of collage, the project combines digital models acquired from virtual stores, collections of scientific institutions or downloaded for free on the internet, overlapping references from mass- and high-culture.
The film’s narrative presents views of an archipelago formed by monuments and topography resulting from the hybridization of these collections.
Fidget is the English term for compulsive and repetitive movements in episodes of nervousness.
Digital video
The Dada Fidget Toy Orchestra (DFTO) group explores digital modeling and animation technologies in order to create works of art. There is an irreversible bias of the information economy towards metaverses, and the three artists, who have been collaborating for years, got together to explore this recent condition. In a process of collage, the project combines digital models acquired from virtual stores, collections of scientific institutions or downloaded for free on the internet, overlapping references from mass- and high-culture.
The film’s narrative presents views of an archipelago formed by monuments and topography resulting from the hybridization of these collections.
Fidget is the English term for compulsive and repetitive movements in episodes of nervousness.
Digital video
The Dada Fidget Toy Orchestra (DFTO) group explores digital modeling and animation technologies in order to create works of art. There is an irreversible bias of the information economy towards metaverses, and the three artists, who have been collaborating for years, got together to explore this recent condition. In a process of collage, the project combines digital models acquired from virtual stores, collections of scientific institutions or downloaded for free on the internet, overlapping references from mass- and high-culture.
The film’s narrative presents views of an archipelago formed by monuments and topography resulting from the hybridization of these collections.
Fidget is the English term for compulsive and repetitive movements in episodes of nervousness.