EXHIBITION "CROSSING THROUGH IZIDÓRIO CAVALCANTI"

Looking back at Izidorio Cavalcanti's work, after a recent and intense immersion in his production, makes me think about the diverse layers that compose the artwork – what was its purpose, what was it for, and why was it created? The proposed challenge is to perceive the multiple voices, their potential, and their subtext, that which lies at the episteme of the arts. "Travessias" (Crossings) is, therefore, first and foremost, a look, a point of journey, a desire, and also an invitation.

The work of Izidorio Cavalcanti is born from his entanglement with the politeiaAround the 1990s, this multifaceted production is presented through installations, photographs, performances, objects, embroidery, and paintings, often created seemingly by chance. It deals with the uncertain place of the body in the world, which is sometimes positioned in a more explicitly political way, although here, poetically lyrical.

The exhibition points to a journey through unease, one that was also undertaken by other compatriots of the artist, such as the poet Miró. These are wanderings that draw from the history of art and the history of our country, and which are important, never for labeling, but in the intention of inciting discussion about the power of this path.

The works by Izidorio exhibited here carry the empty field in which we are immersed, like birds trapped in (un)finished landscapes or burned and imprisoned territories. Their red hues point to the forces revealed in the pain of an open heart, but also to the suspension that marks chance and reconstruction, for it is necessary to "cross the desert, we have to cross it," as Ailton Krenak taught us.