Read the full text by Thais Rivitti here.
Read the full text by Gabriel Zimbardi here.
On March 27th, from 7pm to 10pm, Vermelho opens “Organoide,” a new solo exhibition by Lia Chaia. The exhibition features a critical text by Thaís Rivitti.
“Organoide” presents new works produced between 2020 and 2024, including a video installation, two videos, drawings, and a series of mobiles. During the opening, Chaia will present a mapped projection on Vermelho’s facade.
Lia Chaia is featured in the exhibition “Message from our Planet,” from the Thoma Foundation Collection. The exhibition is part of the Foundation’s Loan Program, which sends artworks to regional and public museums in the USA. The collection focuses on digital art, video, and new media. The exhibition is currently touring the USA, having already visited 6 museums. It is currently at the Chazen Museum of Art at the University of Wisconsin.
Chaia is also participating in the exhibition “Before and Now, Far and Here Inside,” curated by Galciani Neves, at the Oscar Niemeyer Museum (MON) in Curitiba, Brazil. This exhibition proposes a reflection on the relationships between body and territory, and the various ways of inhabiting, being, and recording landscapes.
Chaia’s works exploring the insertion of the body into natural and urban landscapes were also featured in the exhibition “Terra abrecaminhos,” which recently ended its display at Sesc Pompéia (São Paulo), curated by Hilda de Paulo.
Chaia is one of the prominent artists of Generation 2000, and her work is present in important collections such as: Pinacoteca do Estado de São Paulo (Brazil); Inhotim (Brazil); Colección Jozami (Spain); Museum of Modern Art [MAM] (Brazil); Museum of Modern Art of Rio de Janeiro [MAMRJ] (Brazil); and Banco do Espírito Santo (Portugal).
Read the full text by Thais Rivitti here.
Read the full text by Gabriel Zimbardi here.
On March 27th, from 7pm to 10pm, Vermelho opens “Organoide,” a new solo exhibition by Lia Chaia. The exhibition features a critical text by Thaís Rivitti.
“Organoide” presents new works produced between 2020 and 2024, including a video installation, two videos, drawings, and a series of mobiles. During the opening, Chaia will present a mapped projection on Vermelho’s facade.
Lia Chaia is featured in the exhibition “Message from our Planet,” from the Thoma Foundation Collection. The exhibition is part of the Foundation’s Loan Program, which sends artworks to regional and public museums in the USA. The collection focuses on digital art, video, and new media. The exhibition is currently touring the USA, having already visited 6 museums. It is currently at the Chazen Museum of Art at the University of Wisconsin.
Chaia is also participating in the exhibition “Before and Now, Far and Here Inside,” curated by Galciani Neves, at the Oscar Niemeyer Museum (MON) in Curitiba, Brazil. This exhibition proposes a reflection on the relationships between body and territory, and the various ways of inhabiting, being, and recording landscapes.
Chaia’s works exploring the insertion of the body into natural and urban landscapes were also featured in the exhibition “Terra abrecaminhos,” which recently ended its display at Sesc Pompéia (São Paulo), curated by Hilda de Paulo.
Chaia is one of the prominent artists of Generation 2000, and her work is present in important collections such as: Pinacoteca do Estado de São Paulo (Brazil); Inhotim (Brazil); Colección Jozami (Spain); Museum of Modern Art [MAM] (Brazil); Museum of Modern Art of Rio de Janeiro [MAMRJ] (Brazil); and Banco do Espírito Santo (Portugal).











































enamel paint on mdf and steel cables
Photo Filipe Berndt
The 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.
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.
enamel paint on mdf and steel cables
Photo Filipe Berndt
The 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.
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.
Full HD 16:9 video. Color and sound
Photo video still
Drawing with records a performance for the video camera carried out between Lia Chaia and her daughters. In the protocol, one pair at a time tries to make the same drawing, in a mirrored manner, on opposite pages of a notebook.
4’34’’
Full HD 16:9 video. Color and sound
Photo video stillDrawing with records a performance for the video camera carried out between Lia Chaia and her daughters. In the protocol, one pair at a time tries to make the same drawing, in a mirrored manner, on opposite pages of a notebook.
Full HD 16:9 video. Color and sound
Photo video still
Drawing with records a performance for the video camera carried out between Lia Chaia and her daughters. In the protocol, one pair at a time tries to make the same drawing, in a mirrored manner, on opposite pages of a notebook.
4'34''
Full HD 16:9 video. Color and sound
Photo video stillDrawing with records a performance for the video camera carried out between Lia Chaia and her daughters. In the protocol, one pair at a time tries to make the same drawing, in a mirrored manner, on opposite pages of a notebook.
video on 2 monitors vertically back to back – color and sound
Photo video still
In the video installation, two monitors float in the center of the room, back to back. In the images, we see Chaia’s naked body, upon which drawings are projected and manipulated by two hands. The drawings resemble the patterns of the hands from “Como vai? Como vai? Como vai?” and are structured as arabesques and volutes that twist and turn, as if Chaia’s body could be seen from the inside out.
The installation’s sound reproduces different wind chimes, with sounds of shells, bamboo, and crystals. The wind is the only external element that appears in the exhibition, both in the sound of the “Desenho dançante,” which fills the exhibition rooms, and through the wind itself, which can enter the rooms through screens that the artist used to close the gallery doors.
Collaboration and editing: João Marcos de Almeida
Photography: Flora Dias
Sound: Bruno Palazzo
22’31”
video on 2 monitors vertically back to back – color and sound
Photo video stillIn the video installation, two monitors float in the center of the room, back to back. In the images, we see Chaia’s naked body, upon which drawings are projected and manipulated by two hands. The drawings resemble the patterns of the hands from “Como vai? Como vai? Como vai?” and are structured as arabesques and volutes that twist and turn, as if Chaia’s body could be seen from the inside out.
The installation’s sound reproduces different wind chimes, with sounds of shells, bamboo, and crystals. The wind is the only external element that appears in the exhibition, both in the sound of the “Desenho dançante,” which fills the exhibition rooms, and through the wind itself, which can enter the rooms through screens that the artist used to close the gallery doors.
Collaboration and editing: João Marcos de Almeida
Photography: Flora Dias
Sound: Bruno Palazzo
video on 2 monitors vertically back to back – color and sound
Photo video still
In the video installation, two monitors float in the center of the room, back to back. In the images, we see Chaia’s naked body, upon which drawings are projected and manipulated by two hands. The drawings resemble the patterns of the hands from “Como vai? Como vai? Como vai?” and are structured as arabesques and volutes that twist and turn, as if Chaia’s body could be seen from the inside out.
The installation’s sound reproduces different wind chimes, with sounds of shells, bamboo, and crystals. The wind is the only external element that appears in the exhibition, both in the sound of the “Desenho dançante,” which fills the exhibition rooms, and through the wind itself, which can enter the rooms through screens that the artist used to close the gallery doors.
Collaboration and editing: João Marcos de Almeida
Photography: Flora Dias
Sound: Bruno Palazzo
22’31”
video on 2 monitors vertically back to back – color and sound
Photo video stillIn the video installation, two monitors float in the center of the room, back to back. In the images, we see Chaia’s naked body, upon which drawings are projected and manipulated by two hands. The drawings resemble the patterns of the hands from “Como vai? Como vai? Como vai?” and are structured as arabesques and volutes that twist and turn, as if Chaia’s body could be seen from the inside out.
The installation’s sound reproduces different wind chimes, with sounds of shells, bamboo, and crystals. The wind is the only external element that appears in the exhibition, both in the sound of the “Desenho dançante,” which fills the exhibition rooms, and through the wind itself, which can enter the rooms through screens that the artist used to close the gallery doors.
Collaboration and editing: João Marcos de Almeida
Photography: Flora Dias
Sound: Bruno Palazzo
With Henrique Oliveira, Edigar Candido e Dora Nacca
Photo Vermelho
With Henrique Oliveira, Edigar Candido e Dora Nacca
Photo Vermelho3mm MDF, acrylic base, satin enamel paint and steel wire
Photo Vermelho
The Organoids that give the exhibition its name are hand-painted amoeboid mobiles. Here, they no longer have recognizable shapes, they are organically shaped pieces held together by steel wires, which dance as the wind passes through them. The reconstruction of Lia Chaia’s hand through science led the artist to celebrate the advancement of research that makes natural what is synthetic, or that synthesizes the natural.
209 x 30 cm (4 pieces)
3mm MDF, acrylic base, satin enamel paint and steel wire
Photo VermelhoThe Organoids that give the exhibition its name are hand-painted amoeboid mobiles. Here, they no longer have recognizable shapes, they are organically shaped pieces held together by steel wires, which dance as the wind passes through them. The reconstruction of Lia Chaia’s hand through science led the artist to celebrate the advancement of research that makes natural what is synthetic, or that synthesizes the natural.
3mm MDF, acrylic base, satin enamel paint and steel wire
Photo Vermelho
The Organoids that give the exhibition its name are hand-painted amoeboid mobiles. Here, they no longer have recognizable shapes, they are organically shaped pieces held together by steel wires, which dance as the wind passes through them. The reconstruction of Lia Chaia’s hand through science led the artist to celebrate the advancement of research that makes natural what is synthetic, or that synthesizes the natural.
138 cm x 39 cm (3 pieces)
3mm MDF, acrylic base, satin enamel paint and steel wire
Photo VermelhoThe Organoids that give the exhibition its name are hand-painted amoeboid mobiles. Here, they no longer have recognizable shapes, they are organically shaped pieces held together by steel wires, which dance as the wind passes through them. The reconstruction of Lia Chaia’s hand through science led the artist to celebrate the advancement of research that makes natural what is synthetic, or that synthesizes the natural.
Posca pen and water-based varnish on Canson paper
Photo Filipe Berndt
The woven paper mural creates a wall-device for Lia Chaia’s drawings that were used in the “Dancing Drawing” projection, which join other drawings of various scales and colors. Together, they form a system inspired by a conversation Chaia had during one of her visits to the hospital, when someone talked to her about organoids.
Organoids recreate, in vitro, a physiological system that allows researchers to investigate complex multidimensional issues, such as the onset of diseases, tissue regeneration, and interactions between organs. Organoids are a type of 3D cell culture that contains specific types of organ cells, which can display their spatial organization and replicate some functions of a particular organ.
variable dimensions
Posca pen and water-based varnish on Canson paper
Photo Filipe BerndtThe woven paper mural creates a wall-device for Lia Chaia’s drawings that were used in the “Dancing Drawing” projection, which join other drawings of various scales and colors. Together, they form a system inspired by a conversation Chaia had during one of her visits to the hospital, when someone talked to her about organoids.
Organoids recreate, in vitro, a physiological system that allows researchers to investigate complex multidimensional issues, such as the onset of diseases, tissue regeneration, and interactions between organs. Organoids are a type of 3D cell culture that contains specific types of organ cells, which can display their spatial organization and replicate some functions of a particular organ.
Posca pen and water-based varnish on Canson paper
Photo Vermelho
The woven paper mural creates a wall-device for Lia Chaia’s drawings that were used in the “Dancing Drawing” projection, which join other drawings of various scales and colors. Together, they form a system inspired by a conversation Chaia had during one of her visits to the hospital, when someone talked to her about organoids.
Organoids recreate, in vitro, a physiological system that allows researchers to investigate complex multidimensional issues, such as the onset of diseases, tissue regeneration, and interactions between organs. Organoids are a type of 3D cell culture that contains specific types of organ cells, which can display their spatial organization and replicate some functions of a particular organ.
21 x 29,7 cm
Posca pen and water-based varnish on Canson paper
Photo VermelhoThe woven paper mural creates a wall-device for Lia Chaia’s drawings that were used in the “Dancing Drawing” projection, which join other drawings of various scales and colors. Together, they form a system inspired by a conversation Chaia had during one of her visits to the hospital, when someone talked to her about organoids.
Organoids recreate, in vitro, a physiological system that allows researchers to investigate complex multidimensional issues, such as the onset of diseases, tissue regeneration, and interactions between organs. Organoids are a type of 3D cell culture that contains specific types of organ cells, which can display their spatial organization and replicate some functions of a particular organ.
With Lia Chaia
Photo Vermelho
With Lia Chaia
Photo VermelhoPosca pen and water-based varnish on Canson paper
Photo Vermelho
The woven paper mural creates a wall-device for Lia Chaia’s drawings that were used in the “Dancing Drawing” projection, which join other drawings of various scales and colors. Together, they form a system inspired by a conversation Chaia had during one of her visits to the hospital, when someone talked to her about organoids.
Organoids recreate, in vitro, a physiological system that allows researchers to investigate complex multidimensional issues, such as the onset of diseases, tissue regeneration, and interactions between organs. Organoids are a type of 3D cell culture that contains specific types of organ cells, which can display their spatial organization and replicate some functions of a particular organ.
29,7 x 42 cm
Posca pen and water-based varnish on Canson paper
Photo VermelhoThe woven paper mural creates a wall-device for Lia Chaia’s drawings that were used in the “Dancing Drawing” projection, which join other drawings of various scales and colors. Together, they form a system inspired by a conversation Chaia had during one of her visits to the hospital, when someone talked to her about organoids.
Organoids recreate, in vitro, a physiological system that allows researchers to investigate complex multidimensional issues, such as the onset of diseases, tissue regeneration, and interactions between organs. Organoids are a type of 3D cell culture that contains specific types of organ cells, which can display their spatial organization and replicate some functions of a particular organ.
Posca pen and water-based varnish on Canson paper
Photo Vermelho
The woven paper mural creates a wall-device for Lia Chaia’s drawings that were used in the “Dancing Drawing” projection, which join other drawings of various scales and colors. Together, they form a system inspired by a conversation Chaia had during one of her visits to the hospital, when someone talked to her about organoids.
Organoids recreate, in vitro, a physiological system that allows researchers to investigate complex multidimensional issues, such as the onset of diseases, tissue regeneration, and interactions between organs. Organoids are a type of 3D cell culture that contains specific types of organ cells, which can display their spatial organization and replicate some functions of a particular organ.
105 x 138 cm
Posca pen and water-based varnish on Canson paper
Photo VermelhoThe woven paper mural creates a wall-device for Lia Chaia’s drawings that were used in the “Dancing Drawing” projection, which join other drawings of various scales and colors. Together, they form a system inspired by a conversation Chaia had during one of her visits to the hospital, when someone talked to her about organoids.
Organoids recreate, in vitro, a physiological system that allows researchers to investigate complex multidimensional issues, such as the onset of diseases, tissue regeneration, and interactions between organs. Organoids are a type of 3D cell culture that contains specific types of organ cells, which can display their spatial organization and replicate some functions of a particular organ.
Posca pen and water-based varnish on Canson paper
Photo Vermelho
The woven paper mural creates a wall-device for Lia Chaia’s drawings that were used in the “Dancing Drawing” projection, which join other drawings of various scales and colors. Together, they form a system inspired by a conversation Chaia had during one of her visits to the hospital, when someone talked to her about organoids.
Organoids recreate, in vitro, a physiological system that allows researchers to investigate complex multidimensional issues, such as the onset of diseases, tissue regeneration, and interactions between organs. Organoids are a type of 3D cell culture that contains specific types of organ cells, which can display their spatial organization and replicate some functions of a particular organ.
75 x 130 cm
Posca pen and water-based varnish on Canson paper
Photo VermelhoThe woven paper mural creates a wall-device for Lia Chaia’s drawings that were used in the “Dancing Drawing” projection, which join other drawings of various scales and colors. Together, they form a system inspired by a conversation Chaia had during one of her visits to the hospital, when someone talked to her about organoids.
Organoids recreate, in vitro, a physiological system that allows researchers to investigate complex multidimensional issues, such as the onset of diseases, tissue regeneration, and interactions between organs. Organoids are a type of 3D cell culture that contains specific types of organ cells, which can display their spatial organization and replicate some functions of a particular organ.
Video – color and sound
Collaboration and editing: João Marcos de Almeida
Photograph: Flora Dias
Direct sound: Juliana R.
Photo video still
Véu útero is grounded in the use of video as a tool for recording performances, one of Lia Chaia’s recurring practices. In common, these works are based on more intimate performances, where the body is the central axis in the composition.
5’35”
Video – color and sound
Collaboration and editing: João Marcos de Almeida
Photograph: Flora Dias
Direct sound: Juliana R.
Véu útero is grounded in the use of video as a tool for recording performances, one of Lia Chaia’s recurring practices. In common, these works are based on more intimate performances, where the body is the central axis in the composition.
Water-based woodcut ink on Canson paper
Photo Vermelho
The drawings carimbo seta [stamp arrow] create continuous and multidirectional flows, as if they were in motion, indicating that the movement of the body and the city is incessant.
225 x 200 cm
Water-based woodcut ink on Canson paper
Photo VermelhoThe drawings carimbo seta [stamp arrow] create continuous and multidirectional flows, as if they were in motion, indicating that the movement of the body and the city is incessant.
Sakura watercolor on Hahnemühle Harmory Watercolor paper 300g
Photo Filipe Berndt
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.
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.