Marcos Chaves

Marcos Chaves was born in Rio de Janeiro in 1961 and began his artistic activity during the first half of the 1980’s.

Working on the parameters of ownership and intervention, his work is characterized by the use of different media, moving freely between the production of objects, photographs, videos, drawings, words and sounds.

He participated the biennials: Manifesta 7 – The European Biennial of Contemporary Art, Bolzano, Italy; 25ª Bienal Internacional de São Paulo; 1ª e 5ª Bienais do Mercosul, Porto Alegre; 4ª Bienal de Havana, Cuba; Luleå Art Biennial, Sweden.

He held solo and collective exhibitions in institutions and galleries such as Mori Art Museum, Tokyo, Japan; Martin-Gropius-Bau, Neuer Berliner Kunstverein (NBK), Berlin, Ludwig Museum, Koblenz, Zeppelin University, Friedrichshafen, Germany; Fri-Art – Centre d’Art Contemporain de Fribourg, Verein Shedim Eisenwerk, Frauenfeld, Switzerland; Espace Topographie de L’Art, Paris, France; Stiftelsen 3,14, Bergen, Norway; Vantaa Art Museum, Helsinki, Finland; Butcher’s Project, London, G39, Cardiff and Northern Gallery, Sunderland, United Kingdom; Iziko South African National Art Gallery, South Africa; Centro per l’Arte Contemporanea Luigi Pecci, Prato, Italy; The Jim Thompson Art Center, Bangkok, Thailand; Porto 2001, Portugal; Esbjerg Kunstmuseum, Denmark; Lehmann Maupin Gallery, New York; Instituto Valenciano de Arte Moderno, Valencia, Museo Patio Herreriano, Valladolid, Galeria Blanca Soto Arte, Madrid, Spain; MIS, CCBB, MAM-SP, Galeria Nara Roesler, São Paulo; MAM-RJ, Paço Imperial, CCBB, Galeria Laura Alvim, Oi Futuro, Galeria Laura Marsiaj, Galeria Gentil Carioca, Galeria Progetti and Galeria Artur Fidalgo, Rio de Janeiro.


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As Paredes Têm Ouvidos

I arrived in Lisbon on a Saturday morning and on that same afternoon I was already taking pictures of pieces by Bordallo in both museums of Caldas da Rainha. I was quickly taken by this letter rack. The fact that the piece was more subjective (a huge wall ear), absurd and somehow flirting with surrealism, immediately appealed to me; apart from the fact that it contains a popular saying, no less surreal, which is a feature that I normally use in some of my works. I learned that the mould would have to be restored, and that was an opportunity to bring back the work of a genius, which had already stopped being produced. I chose to keep the piece as it was and insert an interference here and there, creating an effect both in the shape and the message. I’ve always thought of this proverb as a small certified paranoia; surreal, mistaking people for walls, as if all that we talk about raised the interest of others. That's when it occurred to me that it could be distracted by other things, instead of us, and so I thought of the headset, an enlarged facsimile of the one by Apple, so widespread in the contemporary world. Bringing together two objects with drawings made at such different times, 100 years apart, I was given the opportunity to pay tribute to two geniuses, Bordallo Pinheiro and Steve Jobs, besides creating a new context, a new piece, with humour, also a Bordallo’s brand.