VVerão a 1000 [1976-1978] Poetic multimedia events, organized, directed and presented by Xico Chaves at Escola de Artes Visuais of Parque Lage (Rio de Janeiro). For two years, “Verão a 1000” featured musicians, performers, and poets. There were also experimental exhibitions, performances, film screenings, audiovisual works, poetic/musical experiments, as well as the launch of books, records, countercultural publications, and envelopes of mail poetry. The project also included the first International Festival of Electroacoustic Music, in collaboration with Vânia Dantas Leite and Rodolfo Cesar. From left to right: Xico Chaves and Luiz Melodia. Photos: Chiquito Chaves
One minute of noise at the São Paulo Municipal Theatre  In celebration of the 56 years of the Modern Art Week, in the event “Encontro de Arte e Poesia,” held at the São Paulo Municipal Theatre (SP), the group Nuvem Cigana, together with Xico Chaves, performed the poem-object “Um minuto de barulho / ninguém morreu / tudo preto.” [“One minute of noise / nobody died / all black”]. Xico Chaves asked for a minute of noise and the public responded. The poem was also a critique of the excess of verbose poetic declamations. Sitting, left to right: Chacal; Xico Chaves; Charles Peixoto, and Pedro Lage. Standing, holding the banner: Ronaldo Santos and Lui Fontes. Photo: Xico Chaves’ Archive
road in cerrado
a man in black and black hat
travels in a bus
looking out the window
the burnt vegetation
take coal to furnaces
the birds go away the soil dries
the animals die
the water dries the rivers dry
the water disappears
the birds do not perch
the steel is heavy on the man in black
his horse ran away.
Poem from the book Trincheira de espelhos [Trench of Mirrors] Poema retirado do livro Trincheira de espelhos 
Visual poem “7 SETEMBRO 74” with sheet music of a sound poem for radio and tape recorder  Green felt-tip pen on paper and cassette tape.
these mountains remind me
something that I have lived
like those watercolours
that never ended
Poem “Cordilheiras,” from the book poETa clandestino [clandestine poET] 
Anos 60-70 em construção
[60s - 70s]
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
The dictatorship invades the university 
From letf to the right: intervention on the UnB sign, made by Xico Chaves and other students; meeting of the Student Movement (detail: Xico Chaves); police invasion and arrests on the campus of Unversidade de Brasília (DF). Images from the documentary Barra 68, sem perder a ternura [Situation 68, without losing tenderness], directed by Vladimir Carvalho .
First record 
45 rpm record with the first lyrics by Xico Chaves recorded in a studio in Uberaba (Minas Gerais). Collaboration with Paulo Edson Ferreira, “Renovação,” performed by the group Em Canto e Cor, won the First Festival of Chapadão-MPB.
Graphic poem/process  Printed in the print shop of Central of Arts of Institute UNB (Federal District) with lead types, and exhibited at the university
First poems published [1966-1968] Poetic experiments published in the Literary Supplement of Correio Católico de Uberaba by Guido Bilharinho, who, in the 1970s, became editor of the contemporary poetry magazine Convergência (Uberaba, MG).
Consumo 44  Cover and poem of the book Consumo 44 [Consumption 44], written on the first computer installed at the Brazilian Senate (DF), using a software that mixed the words of a text and printed them out. The book was clandestinely printed, resulting in an edition of 100 copies on perforated paper. None of the books had the same word order of the original poem.
THE MAGNETIC HEART VALVE
ONE TO THE ARMS OF
BUYS GLASS EVEN FIBRE
SCATHING LOOK PUBLICITRÍCIA
VISION OF WHEELS
FACE BUYS TELE
CARDS METAL OF
RUBBER THE FLOOR
WiNDOW OF ATTRACTS EYES
SELLS THEM TO HYPNOTIC
STOPPED IN THE PLANT ARMS OF
MATTER AND MEN
ALL THE CRYING
IN PLASTIC OF THE
COMPUTER SELLS TIME
OF A MAKING DELIVERY
Intervention on official military dictatorship propaganda  The actions took place in Brasília (DF), at Plano Piloto, late at night: plastic bags with red paint were thrown at billboards with government propaganda. In clandestine silkscreen workshops, posters were modified and then spread around the city. Green and yellow of the national flag were changed to red and black; a rose was covered with a military tank. Reconstitution of the piece of military government propaganda with intervention made by Xico Chaves and his group, using red paint.
DInk drawings depicting the police invasion and the occupation by the Brazilian Army and other security forces, of the campus of Universidade de Brasília [1968-1969]
that truck that took us prisoners
still prowls the city streets
and those prison walls still hear our hymns
in ceará someone still recalls
that são paulo keeps their fingerprints
in an archive in a basement full of cockroaches
Geração mimeógrafo,” poem from the book poETa clandestino [Clandestine PoET] 
Symbol created by Xico Chaves for the cover of the first issue of the alternative newspaper Tribo, DF. The publication gathered young poets, artists, illustrators and journalists in events of the counterculture movement.
Police record and documents from the Tiradentes prison (São Paulo) 
Students from the whole country being arrested at the 30th UNE (National Student Union) Congress in Ibiúna (São Paulo)  Students protest their arrest during the UNE metting, Ibiúna, in Tiradent’s prison. Photo: Folhapress. Page from Folha de S. Paulo, October 16, 1968.
Jail release  Xico Chaves embraced by his mother, Stella Chaves, at the moment of his release from Tiradentes Prison (São Paulo). Photo: Edwaldo Silva / Folhapress. Page from Folha de S. Paulo October 16, 1968..
Exile in Chile  In the early 1970s, due to the intensification of the military dictatorship in Brazil, Xico Chaves, went into self-exile in Santiago, capital of Chile. Frames from the super-8 footage in the Chilean capital. From top to bottom, clockwise, protest-poster; military parade; Augusto Pinochet, flanked by a representative of the church, observing a military parade; march on the streets; the artist in a workers demonstration; and performance by Xico Chaves for some children at an amphitheater.
Process-poems with Letraset on paper 
Invitation for the launch of the book-poster PIPA  The launch of this publication took place at Escola de Artes Visuais (EAV) of Parque Lage (Rio de Janeiro), in an eight-hour long event, with the participation and presence of poets, musicians, visual artists, scientists, biologists and general public. On that day, anyone who wanted to speak could freely do so, on stage or in any area of Parque Lage. A uaiuai arrow was shot from the auditorium window while the poem “Vai,” published in the book-poster, was sung in chorus. The launch of PIPA originated several EAV events, with performances, shows, recitals and independent multimedia events, which lasted until the mid-1980s and served as a reference for many other similar alternative events happening to this day.
PIPA  Book-poster with 100 poems written between 1968 and 1976. PIPA is also a self-portrait of the artist.
Um minuto de barulho / ninguém morreu / tudo preto  Poem-object in two envelopes: one with black paper glasses and another with black paper only
Cordelírio [1978-1979] Publication of “urban cordéis” in the Literary Supplement of Correio Braziliense, dubbed “Cordelírios” by the editor and poet T T Catalão. The poems follow a narrative similar to the popular cordel and incorporate poetic structures from Concretism and contemporary poetry: stream of consciousness, a break with conventional rhyme and lexical structure, rhythm and phonetics. The textx published were “Purpurina,” “Alfa Versus Gang,” and “Urucum Fumaça”.
CCover of the double album O banquete dos mendigos [The Banquet of the Beggars]  Double album of the historic show recorded live at MAM-RJ, directed and produced by Jards Macalé and Xico Chaves. December 10, 1973, in commemoration of the 25 years of the signing of the Universal Declaration of Human Rights; it had the UN as a partner and was the first great show of resistance to the military dictatorship. The album merges the reading of parts of the Declaration, which acquired the character of a manifesto, with music. Half of the money raised from copyrights was donated to actions against poverty and hunger in Mauritania, Africa. The participants includedt Chico Buarque, Danilo Caymmi, Dominguinhos, Edison Machado, Edu Lobo, Gal Costa, Gonzaguinha, Grupo Soma, Jards Macalé, Jorge Mautner, Johnny Alf, Luiz Melodia, Milton Nascimento, MPB-4, Nelson Jacobina, Paulinho da Viola, Pedro dos Santos, Raul Seixas, SOMA, Roberto Nascimento, and Toninho Horta. Cover design: Rubem Gerchman Image provided by inARTs.com
Invisible painting  Series of drawings on paper, with mineral coal from the cerrado. Landscapes and figures are layered to maximum saturation. This series marks the beginning of a painting project with minerals and natural pigments. The use of specularite (iron ore) on black surfaces results in the “universes” and “black colours” or the LUZZ, series, shown in the exhibition Como Vai Você, Geração 80?, at Escola de Artes Visuais do Parque Lage (Rio de Janeiro), in 1983.