The Confrontadas series reproduces, through large embroidered paintings, scenes of clashes between protesters and police. The images are taken from media coverage of demonstrations with women protagonists that have taken place over the last 10 years. These women demonstrators appear in white embroidery over black acrylic paint, and the police in black embroidery over black paint. This difference denotes the distinct qualities between the protesters and the police – focusing on the former and giving the latter a phantasmagorical presentation.

In the Mamarracho series, doodles are drawn, digitalized, enlarged 1000 times and then painted on white canvases. The black lines haphazardly cross the canvas, overflowing onto the wall, making these works hybrid image-objects.

In Instante estante, Cidade plans two heavily used metal shelves, freezing time and solemnizing the accumulated marks on the object. Here, deterioration becomes the image to be preserved.

Series of photos made from reproductions of photographic negatives from The Penitentiary Museum of São Paulo.

Edgard de Souza’s vases are representations of decorative and domestic objects. Imbued with strangeness, they become reservoirs manufactured in skin and fur, suggesting something intimate or visceral, like bodily orifices.

The Corpo Fechado series is comprised of a series of vintage whips cast in bronze and sculpted in such way that their motions appear as a frozen instant. These pieces are also part of the series of sculptural and photographic objects that relate to Corpo Fechado: The Devil’s Work. Like in the film, there is a reversal on the handling of the whip as these tools for punishment are inverted in these works, drawing near to BDSM practices where pleasure and pain converge, and where relations of power and submission are consensual.

In the embroidered R series, by Edgard de Souza, one can see the artist’s body at work, moving in a continuous movement back and forth. The only figuration among the embroideries are clouds, in a comment on the search for images in gestural abstraction, which is similar to the game of looking for representations in clouds. The embroideries are produced on linen fabrics, with silk, cotton or linen threads.
The R series is related to the Rabiscos series, produced by de Souza between 2013 and 2015, and shown in the artist’s first solo show at Vermelho. In the series, large and small scribbles, little doodles, were produced from simple tasks imposed on himself by the artist, such as drawing while dancing, drawing with both hands at the same time, or drawing until the paper was torn. The doodles dealt with the movements of the artist’s body.
The R series and the Rabiscos follow Restoration, from 2011. In the work, presented at Edgard de Souza’s first solo show at Vermelho in 2015, and shown at the current solo show, an old, used floor cloth was meticulously restored by the artist. Restoration brings together the dualities with which de Souza works in the three series – and in all of his work: the virtuous and the spontaneous; the private and the public; high and low cultures; the diverging opinions.

In this series Candiani works with the mathematical qualities of traditional Mexican dances. The
artist worked from the choreographic notation methodology developed by Zacarías Segura
Salinas and presented in the book Danzas Folkloricas de Mexico. Dance Scores deals with the codification presented in the study by Segura Salinas and also with the symbolic qualities of
frame embroidery.

Los Sonajeros is a traditional dance that is performed with variations throughout the state of
Jalisco in Mexico. The purest is the one performed in Tuxpan, which is danced on January 20,
the day of the town's patron saints, San Fabian and San Sebastián.

The dance dates back to pre-Hispanic times, according to the chronicler Sahagún, the Toltecs, founders of Tuxpan "were good singers and while they sang or danced they used drums and
wooden rattles" very precious to those that accompany this dance to this day.

The title of this series refers to the refrain of the song Polícia, by Brazilian punk band Mercenárias. Longo Bahia uses broken glass in reference to banks windows at Avenida Paulista, broken during some protests, as support for her paintings that portray conflicts between police and demonstrators in different cities of the globe. The artist uses images from the photojournalism as a matrix for the work.

In Matriz legal [Legal matrix], Komatsu creates geometric and labyrinthine designs with barbed wire on wooden supports, encircling “prepared” areas with paint and acrylic putty. The white fields, which would usually be the basis for the pictorial construction on the wooden panels, are supplemented – or oppressed – by the potential danger represented by the barbed wire.

This series of works continues the artist’s investigation into the role of copper in Peru’s economy, where this natural resource is exported as a raw material for use in tech industries. These new works incorporate a series of abstract symbols based on different modernist corporate logos used by diverse industries and corporate entities. By using these geometric symbols in a traditional woven form, Garrido-Lecca questions the relation between these modern images, tied to the engines of modernization, the global economy, and their links to pre-Columbian abstraction.

In the embroidered R series, by Edgard de Souza, one can see the artist’s body at work, moving in a continuous movement back and forth. The only figuration among the embroideries are clouds, in a comment on the search for images in gestural abstraction, which is similar to the game of looking for representations in clouds. The embroideries are produced on linen fabrics, with silk, cotton or linen threads.
The R series is related to the Rabiscos series, produced by de Souza between 2013 and 2015, and shown in the artist’s first solo show at Vermelho. In the series, large and small scribbles, little doodles, were produced from simple tasks imposed on himself by the artist, such as drawing while dancing, drawing with both hands at the same time, or drawing until the paper was torn. The doodles dealt with the movements of the artist’s body.
The R series and the Rabiscos follow Restoration, from 2011. In the work, presented at Edgard de Souza’s first solo show at Vermelho in 2015, and shown at the current solo show, an old, used floor cloth was meticulously restored by the artist. Restoration brings together the dualities with which de Souza works in the three series – and in all of his work: the virtuous and the spontaneous; the private and the public; high and low cultures; the diverging opinions.