Arqueoplanos are a series of paintings on canvas and paper following the Lummens series. These works were made on the sands of Praia dos Amores beach, Barra da Tijuca (Rio de Janeiro), and in the artist’s studio, set up in the same place. The pigments, minerals and resins were placed on the fabric, on the sand, at low tide, or on the dunes, where they were painted in different layers, drying times, and the inclusion of marks and objets. The proximity with the ocean, the canal, and a colony of fishermen enables the inclusion of several organic shapes and debris left by the passersby. It is as if the geological phenomena happened over time, in a place where land meets water, allowing an interaction between both elements. The objects simulate dialogues between them, in time differences, at conjectured historical distances that are, however, very close. It is as if a layer of fossil sediments from 2,000 years ago were only a few millimetres apart from a modern industrial object; as if fossils of fish bones and an empty toothpaste tube were almost on the same plane. The painting merges with reliefs and textures in order to incorporate minerals that do not exist there, that were brought from far away, with the sand and sediments. The presence of living or dead elements is emphasized, seeming to exist almost simultaneously. Ephemeral or permanent, it does not matter. The important thing is that they left traces, due to the intervention of a third agent, either human or geographic. Planes are interspersed and not defined only by the eye. Reflections on the concept of time, matter and materiality develop to support the multiplicity of the objects and paintings that emerge at the same time, in the studio and in the place where the paintings are created, transformed into a large space for outdoors experiments. This process results in a near saturation of forms, volumes and “things” that will be integrated and form a set of fragments and “interspersed objects.”
Arqueoplanos 04, 05, 06, 07: Minerals and acrylic resin on canvas. Dimensions: 130 x 100 cm.
Obelístico / the comic tragedy of wooden horses 
Interventions in the gardens of Republic Palace, Republic Museum (Rio de Janeiro), for the event remembering the 50th year after Getúlio Vargas’s suicide. The work alludes to the episode known as “Battle of Itararé,” a reaction to the Revolution of 1930, which was actually a coup. The horses, with blindfolds, were given titles and auctioned with different prices, according to their denominations.
Photos : Wilton Montenegro.
[2000s up today]
Objetos intercalares (Intercalary objects) [1979-2010] The creation of poetic and space objects has been present since the beginning of the research with minerals and industrial materials. Thus, several series are interspersed throughout the long project of paintings and poetic creations, making their production continuous and resulting in isolated works, some of them with themes and others more random. They represent a permanent experiment, or even a rest from painting, from written poetry, and visual poems. These works make frequent allusions to archaeology, to the corrosion and permanence of everyday objects that become obsolete or whose matter, in an ever shorter time, becomes useless. The “petrification” of these objects results in a kind of imaginary “contemporary fossils” that are inconspicuously formed in our daily lives. It is a precipitation into their final destiny, an acceleration of their time of use, an early creation of a future memory in the present, a transmutation of objects and references that are still available and functional, into the past. Many of them are associated with children’s toys, accompanying the drawings and paintings of the Joana series. They allude to children’s games and imagination, which include humour and critique by creating distance between playful intentions and themes that can be political, absurd and nonsense. They are meant to be executed in big dimensions. There are comments, narratives, dialogues, free or directed associations and the inclusion of natural and alchemic phenomena, light refraction/reflection, magnetism, printed words and drawings. They give the impression that everything can be swallowed by matter and by de-materialization to the point of unfolding in the emergence of new contradictory meanings and comments. They may also suggest their own dissolution. They are objects that also point towards absolute freedom of expression and interpretation. They emerge from any observation of nature, our daily lives and our viewpoints. They can evolute endlessly and exponentially. Part of Objetos intercalares [Intercalary Objects] was displayed in an exhibition at Cândido Mendes Galery in 2002, at the same time as the exhibition Arqueoplanos at Cultural Center Laura Alvim (Rio de Janeiro). They are formed by many different languages and materials, sometimes classified as books-objects, archaeology of the future, poem-object, unidentified objects, process-poems, with titles depending on the context or moment they are shown.
OVNI (UFO) / olho cósmico 2 (cosmic eye 2) . Polyurethane foam object, with lens and glass sphere.
Satélites artificiais / cambetas (Artificial satellites) [2000-2010]. object, minerals with acrylic resin, and lead bullets. Dimensions: 10 cm de diâmetro. Photos: Kenny Neoob.
Óculos-oráculos (Oracles Glasses) [1996-2007]. Sunglasses petrified with minerals and pigments. The inner side of the lens was painted with specularite, which, under the light acquires an outer space character, due to the diffraction and reflexion of light. Plastic, glass, minerals, and acrylic resin. Dimensions: 20 x 50 x 12 cm.
Rodapé (Footer) [2000-2010]. Minerals anda acrylic resin on Polystyrene, cement and wheels. Dimensions: 30 x 30 x 22 cm.
Queloides (Keloids) 
Embossed painting with minerals and natural pigments on cardboard. Outer space written language combined with Brazilian African-Indigenous symbols. Minerals and acrylic resin on cardboard. Dimensions: 28 x 40 cm e 25 x 25 cm. Photos: Xico Chaves.
Diálogos 1, 2, 3, 4, 5, 6... objetos, arqueologia do futuro, etc. (Dialogues 1, 2, 3, 4, 5, 6... objects, archaeology of the future) [2003-2004] Series of objects made of different materials, each one presenting a scene with two opposing characters. In most of these objects, plastic dolls were used, painted with minerals and immersed in mortar. These are “archaeological situations;” criticising imaginary situations of the present and of the future. 1. Indians hunting a Holstein cow; 2. swimming with children. 3. Donkey and coin; 4. soldier and children; Variable dimensions.5. Muito falo  Polyurethane foam object painted with minerals, encrusted with plastic dolls. Dimensions: 35 x 6 x 6 cm. Carro-bomba 1 e 2 (bomb car 1 and 2)  Plastic jeeps and toy soldiers painted with minerals. Variable dimensions. Photos: Xico Chaves.
Atelier  “Atelier” set up on the sand of the Marapendi Canal, in Barra da Tijuca (Rio de Janeiro), for the creation of the paintings on canvas Arqueoplanos and Marès [Tides]. Photos: Kenny Neoob.
A.M.O.R. (L.O.V.E.) [1993-2008] Visual poem, object, intervention, installation. Brazilian flag from 1932, faded, double sided, transformed into a pillow. The work refers to the Positivist Auguste Comte’s motto “Order, Love and Progress,” which inspired the motto of our flag. However, when it was created, the word Love was excluded. The work proposes the re-insertion of the word “love” on one side of the flag, keeping “Order and Progress” on the other. The flag-pillow with many possible interpretations and associations has been exhibited in Brazil and Europe. Its first version, before it was transformed into a pillow, was shown in an intervention made in a committee session to investigate corruption in Congress in 1993. Other versions were made later and used in several situations, being part of the campaign of the musician Jards Macalé for the inclusion of the word “Love” in the national flag. Flag-pillow. Photo: Pedro Faerstein.
Institutional works [1976-2012] In 1976 Xico Chaves left the private sector where he worked as creative director for an advertising agency and for the newspaper O Globo, to work in the public service as director of the Audiovisual Division of the Rio de Janeiro State Government, at the invitation of the TV and theatre director Paulo Afonso Grisolli and maestro Julio Medaglia. During this period, he organized public audio libraries, educational and cultural cinemas, radio programmes, documentation of popular art, exhibitions, poetry recitals, and many other activities. In 1979, he was hired by Funarte, where he set up an audiovisual sector, later called CTAV. In this institution, he also worked as an artistic editor, directed many programmes and coordinated art exhibitions. In 1992, he was invited by the National Museum of Fine Arts, headed by Heloisa Lustosa, to coordinate large exhibitions and organize the project Brasil Arte Origem, mentioned in a proposal by the critic Mário Pedrosa. In 2003, he returned to Funarte, chaired by Antonio Grassi, as director of the Centre for Visual Arts, conceiving important projects in the field; among them were: Rede Nacional Funarte Artes Visuais, Projéteis de Arte Contemporânea, Brazilian Art Chronology Century XX (on CD), occupation of exhibition spaces throughout the country, publishing and experimental programmes. To coordinate the Funarte National Network of Visual Arts, he invited the artist and cultural producer Nelson Ricardo Martins, who also participated in the creation of some activities, like Conexão Contemporânea and Conexão Artes Visuais Minc – Funarte-Petrobras.
Fisálias, trabalho de Paulo Paes – Recife (PE) 
Conexão Contemporânea (Funarte). Foto: Kika Nicolela.
A mulher e o prédio década de 60, performance de Nelson Ricardo Martins.
Performer: Nanda Ziegler – Teatro Duse, Rio de Janeiro (RJ) 
Conexão Contemporânea (Funarte). Foto: Cristiana Miranda.
Cabeça de peixe (Fish Head) 
Installation and occupation in the group exhibition and artists residency Associados. The event took place in the same building, empty and under renovation, where years before, Márcia X. and Ricardo Ventura created and set up two editions of the group exhibition Orlândia, with the participation of artists, curators and critics. The installation Cabeça de peixe [Fish Head] was conceived on a wooden table used in the artwork, with fragments and bones of fishes, caught and eaten by Xico Chaves over the course of two years. These fragments could be randomly reassembled by the visitors, creating other possible skeletons. A fishing net surrounded the table with various objects collected from the polluted beaches of Barra da Tijuca (Rio de Janeiro). The work was made with help from the visual artist Chang Chai, who made soup with fish heads and shark fin on a stove that was the core of the project. The soup was served to the public at the opening. Photos of fish heads, made with a cell phone, were also distributed to the public. Photos: Ricardo Ventura.
Conexão 00 (00 Connection)  Poem-installation-book-object. The work refers to the power of the book, an almost archaeological object and a source of knowledge, linked to the dream illuminated by urban lights, to deep sleep, to the unconscious, delta zero in the memory. It pas part of the group exhibitions Obranome II and III, at Republic Museum, in Brasília (DF), and at Visual Arts School of Parque Lage (Rio de Janeiro). Clear plastic pillows with acrylic wool clouds/foam, plugs and electric wires, connected to petrified books and black lights. Nacional Republic Museum – Brasília/2008. Photo: Junior Aragão.
Fotopoemas Fotopoemas (Photopoem)  Series of analogue and digital photos, combining associations and meanings in specific contexts. Page 232: 08 ou 80 . Snapshot on the beach on the New Year’s Eve of 2008/2009. Page 233: Quadrilha (Gang). A portrait of the involvement of politicians with corruption. Photos: Xico Chaves.
Forças ocultas Forças ocultas (occult forces)  Concrete poem-object. This work is based on a trip Xico Chaves made alone to the burned “cerrado” during dry season, in order to photograph the vegetation and flowers growing out of the ashes. The artwork refers to Jânio Quadro’s resignation and Getúlio Vargas’s suicide, that blamed hidden forces for their dramatic decisions to abandon power, leaving the country adrift. To look back at these two historical moments, the inscription “forcas ocultas” [occult forces] was made on Coca-Cola bottles, updating their contemporary meaning, in which economic forces influencing political power are today out in the open and emphatically represented by popular consumer products in the media.
Coca-Cola bottles, oil-black paint and adhesive letters. Content: read earth from Brasília.
Bottles on the ground in the cerrado. Photos: Xico Chaves
Poem-object from the series Através [Through]. Plastic DVD boxes, with a spyhole screwed
in the middle.
Marès (Tides) [2008-2010]
Paintings on canvas made on the smooth sand of the beach, at low tide, and finished in the studio. Just like the series Arqueoplanos, large and medium size pantings were made outdoors, using minerals and natural pigments. The planes are infinitely overlapped in layers of paint diluted with a lot of water. Some of the works included lines and geometric shapes to accentuate infinity or to superimpose constructive, rational elements on the prevailing informal quasi-abstractions. They propose a reflection on the contemplation of the ocean, the cosmic space or the desert. Disparate environments, but able to cause a separation from matter itself, a reason for existence
TV linha – carnaval analógico digital (carnival analogical digital)  Digital photographs of defective analogue TV screens, during the transmission of Carnival parades at the Sambadrome in Rio de Janeiro. Digital capture of light effects of an equipment ready for disposal, forming an unique work with effects that will never happen again. This series is part of a set of pictures about political campaigns and football on TV. Figuration becomes almost abstract without losing touch with the subject photographed.
Street carnival grows in the second millennium [2000-2012]]
In the 2000s, after the resumption of street carnival in the 1980s, more than 430 carnival groups appeared, with the participation of thousands of revellers of different ages and social classes. Large traditional societies returned, updating costumes and creating new performances. Xico Chaves participated intensely in this movement, creating, for Christ’s Armpist, objects, props, samba songs and special situations. In 2003, he took part in the foundation of the biennial group and open collective Vade Retro Abacaxi, formed mostly by visual artists. The artist has been also documenting in pictures revellers in their costumes.
Siga-Oi/Rio (Follow Oi/Rio de Janeiro)  Visual poem/installation at Oi Futuro Cultural Center in Ipanema, for the opening of the project Passagem (passage), curated by Alberto Saraiva, occupying several spaces outside and inside the cultural centre. On the street and at the entrance floor, black and white words referred to concrete poetry and bossa nova. In the display window, the artist proposed interactivity through the movement of sliding glass panels. On the stairs, the text was associated with the metallic sounds of words by the vibration produced by footsteps. Words made of adhesive vinyl pasted on different supports at Oi Futuro Cultural Center in Ipanema, among them were the display window at the entrance and the iron staircase. Photos: Raimundo Bandeira de Mello,
Você e eu (You and me)  Object created for the song “Você e eu” [You and me], by Carlos Lyra and Vinicius de Moraes, displayed at the exhibition A Imagem do Som (The image of the sound), at Paço Imperial (Rio de Janeiro), curated by Felipe Taborda. Complicity in binary relations (black and white, two by four, samba jazz, bossa nova, neoconcrete, Ipanema...). Portuguese pavement stones and cement. Dimensions: 20 x 6 x 3,5 cm. Photo: Rodrigo Lopes.
Ficha Brasília Ibiúna 68 (File Brasília Ibiúna)  Urban intervention using large blindex glass panels, printed with one page of the police records of student leaders who were arrested by the military dictatorship at the XXX National Student Union Congress in Ibiúna (São Paulo) in 1968. Xico Chaves was one of them. The work was installed on several lawns throughout Brasília. The idea, in addition to remembering the participation of students from Brasília in the struggle against the military dictatorship, honours characters who gave their lives for freedom of thought and democracy in Brazil. The aim was to remember those who took part in manifestations in avenues, housing blocks, universities, the Congress and other institutions, from the late 1960s to early 1970s. The work, made in collaboration with the designer Fernanda Lemos, was planned for the circuit of urban interventions Aberto Brasília, promoted by CCBB/DF, curated by Wagner Barja. Transparent adhesive printed on blindex. Dimensions: 3 x 2 m .
Photos: Glenio Lima.
Disco zero zero zero zero zero zero para falar comigo mesmo (Dial zero... to talk to myself)  Intervention held at W3 Avenue, in Brasilia. Photo: Henrique Gougon.
A.M.O.R. / A.R.T.E. A.M.O.R. / A.R.T.E. (L.O.V.E. / A.R.T.)  Intervention on a flagpole preserved and protected by IPHAN in the Gustavo Capanema Palace (Rio de Janeiro). A white napkin was raised with the words A.R.T. on one side and L.O.V.E. on the other, written with red lipstick. The flagpole was out of use, as it had been engulfed by a large silk-cotton tree, under natural heritage protection. Given this context, one is not allowed to raise the Brazilian flag. The intervention is the fourth version of the work L.O.V.E., created by Xico Chaves based on an idea by the composer Jards Macalé to re-include the word “love” in the motto of the national flag, which was removed by Brazilian Positivists. The original motto, inspired by the French philosopher August Comte, was “Order, Love, and Progress.” The action was part of the project Transperformance. Bugler: Djalma Placido da Rosa. Photos: Julio Callado.
Xico Chaves writes the word "LOVE" on one side of the napkin; the artist shows the public the other side of the napkin with the word "ART"; the bugler Placido Djalma da Rosa gives the touch of the flag-raising. The flag is flown. Photos: Julio Callado.
Órbita-poética-Xico Chaves (orbit - poetic - Xico Chaves)  Exhibition at Oi Futuro Cultural Center in Flamengo (Rio de Janeiro), curated by Alberto Saraiva, presenting examples of the multimedia production of Xico Chaves in his forty years of continuous activity as a visual artist, a musician and a poet.
first sonnet first drawing first book first love last toy banlon bouclé inhalants devil’s blood zorro costume carnival pool game porn literature zéfiro school hilly streets baroque churches art déco modern architecture readings marxism philosophy existentialism depression adolescence effervescence experimental theatre political engagement chinese line first pamphlet conflicts classical music red shirt speaker romances spiritualism clandestine contacts textile factory boozing demonstrations speeches idealism coup d’état first modern poem first song lyrics radio programmes meetings high-school movement election prison nouvelle vague figuration woodcut oil painting graphics geometric drawings modernist deconstruction poetic invention stream of consciousness study groups radio programme radio soap opera spoken poems song festivals first lyrics recorded first poems published first mimeograph-book experiments frontiers undone skyline arc electric brasília mirage red dust concrete and glass geometry inhabited and empty spaces translucent dome convergences diversities university unb universality central art institute experimentations musique concrète noise and precast history of art possible architecture fine arts spontaneous poetry aleatory prints, construction of figure cinema first figuration exponential and differential calculation photolanguage collage of absurd graphic montages dialogues avant-garde manifestos esplanade