Série Lummens (Lummes Series) [1997-1998]
The Lummens series – a variation of the Limits series – is also made in natural environments where there are pigments and minerals, incorporating impressions, shapes and residues of scrap found in scrap yards with mining equipment and machinery. It is a kind of archaeology of objects that are no longer useful, that lost their character with destruction and corrosion; an almost undecipherable memory of the remains of something done to nature. A form of “written language” through pieces and matter that are fossilized, that oxidate, rust and once again become part of the earth, in a state of transition. Throughout the series, these bodies acquire hidden and evident meanings, distancing themselves and approaching their origin to form a quasi-abstraction. Sometimes they are combined with languages of previous series, as if they were looking for a synthesis. Constellations are also formed where one seeks to represent spacial archaeology, with a history that is also unknown, in which light dialogues with opacity. During the process of creation of this series, the objects called ‘archaeology of the future’, exhibited in 2000 in the exhibition Objetos Intercalares, are more abundant. Installations and interventions were made in this period at various locations, using the same concept.
Stone book [1996-2000]
The Stone book series consists of developments of experiments involving creation and construction of objects, referring to “fossilization” with minerals, pigments and resins, of housewares, toys, equipments, electronic fragments, everyday objects or inventions with various materials. By incorporating several different meanings, these series are frequently produced, being part of the “interpolated objects” that appear in the intervals or concomitantly to works on canvas, paper and industrial media. The “livros de pedra” [“stone books”] are accompanied by petrified LPs, CDs and floppy disks, following the idea of an “archeology of the future.”
Livro de pedra 07- book petrified with minerals, pigments, resins and glass on paper. Dimensions: 30 x 20 x 3 cm.
Bellow: Fóssil disquete 01 (old floppy disk, minerals and acrylic resin). Dimensions: 20 x 20cm; CD Fóssil 01 (CD, minerals, acrylic resin and plastic). Dimensions: 15 x 15 cm. Photos: Xico Chaves.
Field research / CNPq [1987-1989] For the use of minerals and pigments on different supports, such as canvases, objects, installations, performances and interventions, experiments and researches. were conducted. Between 1987 and 1988, CNPq financed a research project in mines, steel mills, natural environments, urban areas, and factories of resins and industrial media. Trips were organized to several regions of the country, mainly to collect materials, create new works in loco and interview people. Photos were taken as part of the creative process and to reflect on the proposal. Page 128: Phyllite rock. Photo: Xico Chaves. Page 129: photos: Christianne Dardenne.
Boca a Boca 
In 1982, TV Bandeirantes launched Mouth to Mouth, an experimental auditorium programme hosted by Xico Chaves and the playwright and actress Karen Acioly. Directed by Maurice Capovilla, the proposal, unprecedented by the standards of the time, sought to promote emerging Brazilian music of the 1980s. Through poetic improvisations, Xico and Karen brought onto the stage great artists and groups at the start of their careers. Arrigo Barnabé, Barão Vermelho, Boca Livre, Cazuza, Céu da Boca, Eliete Negreiros, Elza Maria, Itamar Assunção, Lenine, Lula Queiroga, Premeditando o Breque, Vânia Bastos, and Zé Renato, were some of musicians who performed in the programme. Almost all tapes of the programme were later erased for the recording of other programmes, thus losing an important part of the history of Brazilian music. Xico Chaves and Karen Acioly, TV show hosts of Boca a Boca, TV Bandeirantes, directed by Maurice Capovilla. Photo: Marco Antonio Cavalcanti. Frames from the TV programme Boca a Boca with images of Xico Chaves, Karen Acioly, Lenine and Cazuza. Thanks to Radio and TV Bandeirantes Ltda., for providing the images.
Evaporarte / volatile poem  Performance, verbal improvisation and visual poem with steel wool sparks, volatile paint (devil’s blood), white bed sheet, and fireman uniform. Durign the action, while the words evaporated from the sheet and the sparks faded away, a text was improvised in Cordel style. Although the elements disappear without leaving any trace, they remain in the memory of the public. The performance refers to the origin and immateriality of time, the transience and temporality of improvisation, the permanence of poetry in the present. The body remains. Action performed at Cultural Center Castelinho of Flamengo (Rio de Janeiro), PUC-Rio (Rio de Janeiro), Humaitá Nightclub (Rio de Janeiro) and Cândido Mendes Galery (Ipanema - Rio de Janeiro). Photos: Patricia Bromirsk.
Emergency  Transluscent bottle that circulated during one day among the participants of the Earth Summit (Rio de Janeiro), keeping positive messages for the future spoken into it. The object was exhibited in the middle of a coal spiral on Morro da Urca [Urca Hill] and then sealed to be opened in an emergency. Photos: Bené Fonteles.
Cover of the book clandestine poET  Cover design by Bel Martins and Xico Chaves.
[80s - 90s]
Iron ore, pigments, coal and carbon. Dimensions: 130 x 130 cm
iron ore, pigments, coal and carbon. Dimensions: 50 x 50 cm
Iron ore, pigments, coal and acrylic resin on canvas.Dimensions: 180 x 120 cm
Iron ore, pigments, coal and acrylic resin on canvas.
Dimensions: 100 x 130 cm
Iron ore, pigments, coal and acrylic resin on canvas.
Dimensions: 100 x 70 cm
LUZZ Series [1979-1986] Works shown in the exhibition Como Vai Você, Geração 80? (How are you, 80s?) at visual arts school at Parque Lage (Rio de Janeiro), forming Chaves’ first solo show at the Paulo Klabin galleries in São Paulo and Rio de Janeiro.
Série Luzz (Luzz Series) [1979-1986 ]
PPxs  Visual poems with Letraset leftovers on paper, scratched with craft knives. Canson paper. Dimensions: 50 x 70 cm.
Cover of the book Trench of Mirrors  Visual programming by Ruth Freihof.
Poem from the book Trench of Mirrors 
Everythingist Manifesto published in the book clandestine poET 
impressions about the work
conceptual, my dear watson.
poetry is inside everyone
1 km can be
1 mm 1 mm
is worth more
make your move
1 km of poetry – Instantaneous flow of thought and creation  Visual poem/invitation and postal measurement of an intervention with 1 km of poems and paintings on perforated paper in the gardens of Glass Hall of PUC-Rio, in the event “Projeto Rádio Novela,” conceived and produced by the multimedia Rádio Novela group.
Poem from the book clandestine poET 
Invisível indivisível  (invisible indivisible)  Installation made in a room of visual arts school of Parque Lage (Rio de Janeiro), in the collective exhibition Território Ocupado (Occupied Land). The space was painted with black pigment (carbon) and iron ore powder (specularite) in different densities, to represent different geographical environments of cosmic space. The work highlighted a square of matter in the confluence of two walls, at eye level, so that from a short distance, one could see the phenomena of refraction, diffraction and reflection of light from the minerals, establishing a “holographic” interpretation and enabling the disappearance of the support. On the floor, a pair of sneakers, also painted, simulated the invisibility of the observer, dematerialised and assimilated by the effects of colours revealed by light effects on the material condensed therein. Photo: Xico Chaves.
Suvaco do Cristo (Christ’s Armpit) 
In 1985, Suvaco do Cristo was created by a group of friends who lived in the South area of Rio de Janeiro, including Xico Chaves, Jards Macalé, Luiz Lavinho, João Regazzi Avelleira, Ângela Almeida, Sylvia Gardenberg, Sonia de Matos and Cristianne Dardenne. At that time, carnival groups, weakened and disorganized by the military regime, had almost disappeared from the streets of Rio de Janeiro. Suvaco do Cristo, together with other groups, including Simpatia é Quase Amor, Barbas, Lira do Delírio and Bloco Virtual, helped reintroduce the anarcobloco. The movement enabled the recovery of important groups as an important political demonstration through satires, in a collective process of total freedom of expression. The name Suvaco do Cristo [Christ’s Armpit] came from an interview with Tom Jobim, who also lived in Jardim Botânico, in which he said his house was situated under Christ’s “armpit.” In front of a building in Jardim Botânico, Sônia de Mattos holding the flag of Suvaco do Cristo, before the group’s parade. Below, from left to right, Marcia Godinho, Jards Macalé, Xico Chaves, Sylvia Gardenberg and Ângela Almeida. Photo: João Avelleira.
Série Nova Matéria (New Matters Series) [1987-1989 ]
From space to gravity, Nova matéria [New Matter] seeks solidness in its infinite planetary formations, agglomerations, geological compositions, geographies, colours, brittleness, malleability, and poetic meaning, on different kinds of support. The trips and researches in Minas, miners and landscapes resulted in aerial photogrammetric representations of relief, melting, erosions, imaginary physical transmutations somewhere in the universe, as if the planet or heavenly body were always seen from above, sometimes consolidated, sometimes under formation. The search for a habitat and a set of references for existence merge with the LUZZ series, almost always in the background and at the same time integrated with the materiality and matter of the work. These works were shown in several solo and group exhibitions at Galeria Paulo Klabin (Rio de Janeiro), Documenta (São Paulo), Galeria Athos Bulcão (DF) and Palácio das Artes (Belo Horizonte). Minerals and acrylic resin on canvas. Dimensions: 100 x 130 cm; 50 x 50 cm; 50 x 50 cm; 100 x 30 cm and 50 x 50 cm. Photos: Xico Chaves.
Meteoro cúbico poético (cubic poetic meteor)  Polyurethane foam cube, coated with ashes and iron ore, containing the ashes of one thousand unpublished poems. The poems were read for the last time and then burned. The work deals with the destruction of a number of poems because of the impossibility of publishing them in books, due to the large number of poetic creations and the lack of an editorial system. Dimensions: 25 x 25 cm. Photo: Xico Chaves.
Meteoro colônia de férias (vacation colony meteor)  Expanded polystyrene, minerals, quartz crystal, acrylic resin, and glass. Photo: Xico Chaves.
Foto: Xico Chaves.
Favor da luz  [Favour of Light] 
Visual/process/installation poem presented in the project “Poetry in the beach,” organized by the poet and producer Renato Brasil and realised in Ipanema beach (Rio de Janeiro). The installation involved visual poems on transparent light filters, on acetate sheets, and poems written on them with a typewriter with no ribbon. With nylon threads, forming a triangle pointing towards the sea, with the acetates placed on a clothesline, forming a narrative. The wind produced sound vibration. Glasses were distributed to the public and pasted on their faces with sea water. Those glasses, made of 35 mm films and photographic negatives, made possible an interpretation that was overlapped with landscapes, bathers, poems in relief and fragments of films. Light filters, collage, 35 mm films, nylon threads, and paper on acetate sheets. Photo: Xico Chaves.
Iron mine, mineral extraction  Photographic research carried out by the artist. Photo: Xico Chaves.
Trip with students from the 3D workshop at visual arts school of Parque Lage (Rio de Janeiro), to research and take pictures in mines in the cities of Ouro Preto, Itabirito and Mariana, in the state of Minas Gerais.  André Bazzanella with a plastic bag in his hand, awaiting a sample of iron ore. Photos: Xico Chaves.
Trip to iron mines  Photo: Loris Machado. Thanks to Daniel Machado Valentim and Maria de Olinda Machado Valentim, for kindly providing the photograph.
stick the beak of your chest in the hole of my belly but [Poem from the installation Favor da luz [Favour of Light], published in the book Trincheira de espelhos [Trench of Mirrors] 
The process of creation, experimentation and knowledge, while working on the previous series, lead to a mastery of techniques and materials resulting in multiple languages and forms of representation. This series consists of paintings on small canvases that work as a whole, or in ordered sets, like a poem-process. Minerals and pigments, a harmonious combination, enable chromatic unity and continuity, suggesting the possibility of infinite combinations and unfoldings. The mastery of the tools, tempera, times, overlays, transparencies and supports also allows for diversification in the construction of forms and colours, and the creation of a uniform language, with sequences of abstract images, landscapes, and figurations. The order can be modified, providing different interpretations. the Nova matéria [New Matter] series to the Infinitos [Infinite] series, objects emerged (Objetos intercalares [Intercalary Objects] series), small interventions and ideas for future installations and autonomous proposals. The Infinitos [Infinite] series resulted in several solo and group exhibitions. “[...] if the strength of the material is established in concrete, definitive solutions, the issue of matter and its consequent discussion is multiplied. The relationship between these two references, like in previous works, forms a unity with multiple interpretations for each work and suggests infinite multiplicity as a whole […] however, the issues previously explained remain, acquiring new meanings” (Xico Chaves, 1991).
Minerals, pigments and acrylic resin on canvas. Dimensions: 15 x 15 cm. Photo: Xico Chaves
Série Infinitos – (Infinites series) sequence in process em [1990-1992]
The Limits series comprises the development of experimentations carried out in natural environments since the first paintings with minerals. Paintings on sailcloth, paper and many other supports were produced in areas of mining, deforestation, craters, erosions, grooves and ravines, where there are minerals and pigments removed by machines and dynamite explosions or even natural phenomena. The works were developed and completed in loco, using clean water from reservoirs, river rapids, waterfalls and dried-up streams. Several layers were accumulated to achieve the intended result: to make the paintings as similar as possible to the backgrounds of the places where they were painted or to the surrounding landscapes. It is an assimilation of forms and meanings of the environment in a mutation process. During the trips in which this series was made, there were caravans and workshops with artists, students and people from the region, who also created artworks and learned how to use different media and pigments. In this same period, Jards Macalé created the soundtrack for the video Xico Chaves – Trajetória de uma pintura pintura [Xico Chaves – Trajectory of a Painting], awarded in Brazil and abroad, directed by Felipe Lacerda e Patricia Bromirsk. “[...] epidermal route on the ever changing geography. Documentation of form and colour of found materials, as stains, textures, scratches, pigmentations and deposits, that the rain, the wind, the sun, the water from diverted streams and destroyed springs rebuild in search of new balance. Painting created under the influence of mutations, remains of objective abstraction of real and imagined shapes, separated by the tenuous thread which changes references under the light, between spirit and matter, deconstruction and construction. A curtain between the retina and the object, where figure and landscape meet and separate, and memory presumes the future” (Xico Chaves, 1993). Video frames from Xico Chaves – Trajetória de uma pintura [Xico Chaves – Trajectory of a Painting], directed by Patricia Bromirsk and Felipe Lacerda.
Série Limites – (Limits Series) development of a painting 
Série Limites (Limits series) 
Minerals, pigments and acrylic resin on canvas.
Dimensions: 130 x 100 cm; 130 x 100 cm; 180 x 140 cm; 140 x 180 cm.
Photos: Xico Chaves.
Poem-objects in cement, iron ore, glass from lamps and fragments of poems published in the book Trincheira de espelhos [Trench of Mirrors] (1982). These works deal with the fragmentation and fossilization of a printed poem, in which the words move away from the original structure proposing a possible trip through cosmic space as future sediments in order to form different compositions and to establish new associations. The meteorites are exhibited on a table, scattered around an environment, inside sand boxes or glass containers, like a collection of archaeological findings.
Meteorites - fragments on printed paper, cement and glass. Dimensions: 5 x 4 x 4 cm (each).
Fossil Jealousy - cement, minerals, acrylic resin, glass and paper. Dimensions: 9 x 4 x 2 cm.
Tribute to Honestino Guimarães - cement, minerals, acrylic resin, glass, paper and plastic. Dimensions: 10 x 10 x 5 cm.10 x 10 x 5 cm.
Poem-object intercalary 03 - cement, minerals, glass and paper. Dimensions: 12 x 12 x 3 cm.
The evil back to origin / extinct tribes 
Intervention and performance at Flamengo Park (Rio de Janeiro) during the Earth Summit, in front of the place where the indigenous leader Aimberê was assassinated due to the Portuguese domination and French occupation. In this place stood the village Uruçu-Mirim, an ethnic group which was not allied with the French and the Portuguese, standing up for indigenous autonomy. A uaiuai arrow and a bororo bow were used, and names of extinct and exterminated tribes were read aloud. The arrow was shot over the Guanabara Bay towards Europe in the presence of artists from several countries. ( Photos: 1. Xico Chaves preparing to shoot an arrow; 2. visual artist Aimberê Cesar photographing the action; 3. Xico Chaves performing; 4. Xico Chaves shooting an arrow towards the ocean. Photos: Hugo Moss).
Xico Chaves and Pajé Raoni  Photos: Ulrich Arnold.
Political and carnival objects / interactive objects  Critical and performatic allegorical objects, produced in series to be used by revelers in the parades of the groups Suvaco do Cristo (Christ’s Armpist) and others in the Rio de Janeiro carnival. Photos: Kenny Neoob.
Christ’s Armpist group 
Xico Chaves painted the faces of hundreds of revellers of Christ’s Armpist group, among them was Bruno Fernandes, in the same year Lenine – he too with a painted face – sang the theme song of the group.
Images from the film 20 anos de Suvaco (20 years of Armpist), directed by Paola Vieira.
(...) Paraíso das panteras e das piranhas Das gatas e dos jaburus Reserva mundial De cobra e de aranha Mata virgem na fronteira do Peru Eco no ar de norte a sul (...) [(…) Paradise of panthers and piranhas Of cats and jaburus World reserve Of snake and spider Virgin forest on the border of Peru Eco in the air north and south (...)} [Excerpt from the samba “Eco no ar” (Eco in air), of the Christ’s Armpist group  Samba composed by Lenine, Bráulio Tavares, Claudio Lobato and Xico Chaves for the Christ’s Armpist.
Olho na Justiça  With an eye on Justice 
Intervention, installation and performance, on the sculpture A justiça, by Alfredo Ceschiatti, at Praça dos Três Poderes (DF). During the impeachment of Fernando Collor president process, Xico Chaves climbed the sculpture A Justiça (The Justice) and placed, on the blindfold representing impartiality, two crossed eyes. The action, planned in secret for three months coincidentally happened on the same day on which, for the first time, the streets of all main capital cities were taken by the caras-pintadas [painted faces - youth movement in favor to Impeachment of Fernando Collor president]. The artist was detained by the special forces of the Presidential Palace; there was also a dossier about the intervention, which ended up redeeming the image of justice as the one who sees, since her image was linked to the archetype symbology of her being blind and imparcial. There was a succession of synchronicities with the media. The action could be regarded as a group action since it dealt with the collective unconscious, where it belonged. After this action, the sculpture started to be shown in almost all reports on justice and popular claims, becoming a centre of reference for demonstrations and public actions. Photos: Arnaldo Lobato.
The Zés Manés [The Joes Nobodies] 
A band that freely experiments with poetry and sounds, formed by visual artists, with chaotic and performatic shows. The band members did not necessarily need to know how to play their own instruments. The Zés Manés was formed by: Aimberê César, Alex Hamburger, Ana Durães, Claudia Watkins, Heleno Bernardi, Hélio “Scubi” Jenné, João Neves de Sena, Luiz Freire, Márcia X., Mauricio Ruiz, Ricardo Basbaum, and Xico Chaves. Show at CEP 20.000, Cultural Center Sérgio Porto (Rio de Janeiro).
Frames from the video The Zés Manés. Images: Ricardo Ventura. Edited by Aimberê César.
“ágil lygia” (agile lygia) 
Graphic poem in memory of the artist Lygia Pape, published in the electronic magazine Polêmica Imagem, organized and edited by Kenny Neoob, UERJ.
Poem-object, in inflatable plastic bag, with texts in two dead languages and two modern languages printed, cut out, folded and mixed. It talks about the fragmentation of the languages that formed part of out written language. This work was shown in the exhibition Palavreiro, at the Rio de Janeiro Museum of Fine Arts, in an installation-process, with zipped plastic bags representing a form of poetic interpretation (dust from poems, poem with “mylar” lens, resembling immersion in water, air from spoken words, everyday objects, minerals, etc). The participant were: Lygia Pape, Ricardo Basbaum, Adolfo Montejo Navas and Cristina Pape. Parts of this installation were displayed at América Latina House (DF) and in the exhibition Obranome-2, at República Museum (DF), 2008.
Lygia Pape with Xico Chaves and two mangos from Pirenópolis. National Brasília Hotel (DF)  Photos: Miriam Pires.
Poem-object / archaeology of the future 007  Cement, minerals, glass, and burned poem. Dimensions: 15 x 9 x 9 cm.
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