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Introduction

CHICO TABIBUIA
When Paulo Pardal, the great discoverer and promoter of the work of Chico Tabibuia, passed away, I was invited to go to his house in Barra do São João, RJ. There I met his daughter, Maria Vittoria, who took me to the artist's house. Although I already knew Tabibuia and had seen several of his sculptures that place was unbelievable, unforgettable, as magical as his work. Standing very tall, the shed housed sculptures of all sizes. Immense, large, medium, small. Exus watches, Exus families, phalluses in profusion!
The atmosphere was mesmerizing! And the best, or maybe not: I could choose what to buy. It was all there, before me and at my disposal. I cannot remember what year it was. I remember, yes, that I still did not have Galeria Estação, inaugurated in 2004. I was a partner at a company that had nothing to do with art and I had just received a bonus - good money. I did not think twice. I put everything down in Tabibuia. I never regretted it. I only regretted selling some works to promote and publicize the artist’s in São Paulo, where he was still quite unknown.
For many years I've been waiting to be able to put together an exhibition for him. I did not have enough pieces and the difficulty in finding them in the market was quite great. For this reason, at this moment I am extremely joyful. I feel fulfilled because I can finally show his works in São Paulo.
In April of 1996, Nara Roesler gallery held the first individual of Tabibuia, curated by Frederico de Moraes. Folha de São Paulo newspaper - which considered it a daring exhibition - published: "The choice of Chico Tabibuia for the exhibition, as explained by the curator, reflects a worldwide trend that goes through multiculturalism and the aesthetic exhaustion of certain Euro-North American languages".
We are in the twenty-first century, and the justification of Moraes is as fresh as it was then.

Vilma Eid