October 16th — February 19th 2022
Aurora Incorporates Cobra Coral
October 16th — February 19th 2022

Aurora’s voice sings light with darkness
Aurora incorporates Cobra Coral
The sound of rain falling outside
And the strength of the lightning that comes with the storm


Aurora is pleased to present the exhibition by the poet, musician and visual artist Cabelo. His pulsating work incorporates the space, echoing Lygia Clark’s conception – “the house is the body” – and bringing a heterogeneous set of references that coexist: from figures of African-based religions to cosmologies of the native peoples of this land. Within its own mythology that is materialized in this great project that consists of “Luz com Trevas” [Light with Darkness], the exhibition brings together new paintings, drawings, monotypes, sculptures, neons, installations and videos in an environment camouflaged by the artist’s characteristic patterns.

In this profusion of quick and raw associations, Cabelo brings the “atabaque” closer to the Buddha, in a fluidity of works that become a whole in a “relentless rebellion”. This expansive and explosive dimension – like the egg-bombs – breaks the barriers to bring orishas and shamans closer together, calling for the union of peoples for freedom and rights.

Cabelo also promotes an erotic environment, in the sense that things are set in motion in a transgressive celebration of individual boundaries, merging objects and copulating forms.

This dialogue with the artist’s production occupies different rooms and this “EXUberancia” is incorporated into the space that also becomes a character in this exhibition held in partnership with galleries Bergamin & Gomide and A Gentil Carioca.

If poetry is one of the starting points for the artist, in the exhibition, all languages are mixed to create an environment where diverse ancestors come together.

Here the House is the Body, the Horse that Incorporates Cobra Coral, Horse of the Horse!

Installation Views
Photographies: Ding Musa
Untitled, 2020
Oil on canvas
66 7/8 x 110 1/4 x 1 5/8 in. (poliptych)
Untitled, n.d.
1 1/2 x 13 1/2 x 15 in
Digi Irin, 2021
Cast iron
1/8 x 18 1/8 x 4 1/8 in
Encruzilhada, 2021
Cast iron
28 1/2 x 16 x 9 1/2 in.
Untitled, 2018
Permanent marker on raw leather
41 x 89 3/8 in.
Untitled (Thunder), 2012
neon light on fabric
94 3?8 x 51 1?8 in.
Untitled, 2012
Neon and carpet
74 3/4 x 26 3/8 in.
Untitled, 2020
Dry pastel on black paper
13 x 17 1/2 in.
Untitled, 2021
Atabaque, cloth, vase, sword of São Jorge
84 1/4 x 19 3/4 x 19 3/4
Untitled, 2015
Buddha's head, Santa Barbara swords, atabaque, fabric and skateboard
31 1/2 x 15 3/4 x 13 3/4 in
Untitled, 2021
Xylograph in Pink Cedar wood
33 1/2 x 23 1/2 x 2 1/2 in.
Untitled, 2021
Xylograph in Pink Cedar wood
33 1/2 x 23 1/2 x 2 1/2 in.
Untitled, 2020
Dry pastel on black paper
17 1/2 x 13 in.
Untitled, 2020
Oil on kraft paper
40 8/50 x 28 7/20 x 1 19/50 in.
Untitled, 2021
Oil on linen
19 11/16 x 15 3/16 x 1 3/16 in.
Untitled (from the series Visões Serpentinas), 2021
linen photolithography
44 44/50 x 31 3/10 in
Untitled, n. d.
soapstone sculpture
11 3/4 x 18 1/2 x 9 7/8
Untitled, 2006
25 5?8 x 38 1?4 x 19 1?4 in.
Untitled, 2007
Bronze and oily stick
16 1?2 x 9 1?2 x 7 7?8 in each
About the artist

Cabelo (Cachoeiro de Itapemirim, 1967) brazilian artist, lives and works in the city of Rio de Janeiro. Cabelo is a poet, musician and visual artist. He considers his drawings, paintings, sculptures, songs, performances, videos and installations as manifestations of poetry. According to Luiz Camillo Osorio, “these various lines of strength in his poetics focus on an expressive event that is always marked by the forceful presence of the body”. The work takes place both in a museum and on the street. Currently, he continues with the “Luz com Trevas” [Light with Darkness] project: an exhibition, a show and a record, which are mixed together to form a single work.

In 2019, he was one of the finalists for the PIPA Prize, and held his exhibition at Villa Aymoré, in addition to participating in the group exhibitions “Da linha, o fio” at the BNDES Cultural Space, Rio de Janeiro, at the Multiplicidade 2019 Festival: Brasis, Centro Cultural Oi Futuro and participated in the exhibition “What is not a forest is a political prison” at the 9 de Julho Occupation of the Movimento dos Sem Teto do Centro (MSTC), São Paulo. In 2018, he exhibited the solo show “Luz com Trevas” at the BNDES Cultural Space, Rio de Janeiro and participated in the 33rd São Paulo International Biennial for the second time. In 2017, he participated in “Alucinações à Beira Mar” at MAM Rio de Janeiro and in the exhibition “Art of the Treasure Hunt: The Grand Tour” in Tuscany, Italy. In 2015, he made the solo show “Obrigado volte sempre” at the gallery A Gentil Carioca, Rio de Janeiro. His works were exhibited in individual exhibitions, among which the following stand out: “Da Banalidade”, Instituto Tomie Ohtake, SP (2016), “Humúsica”, at MAM-Rio (2012), “Mianmar Miroir (The Corridor), at Art Positions at Art Basel Miami (2006); “Immediations of Monte Basura”, at the Center D’art Santa Monica, Barcelona (2005). Among the group exhibitions, the following stand out: Bienal do Mercosul 2009, Porto Alegre; “De Perto, De Longe”, Liceu de Artes e Ofícios, São Paulo (2008); 26th São Paulo International Biennial, São Paulo (2004); “How Latitudes Become Forms: Art in a Global Age”, Walker Art Center, Minneapolis, USA; “Violence and Passion”, MAM Rio (2003); “Cote à Cote – Art Contemporain du Brésil”, CAPC Musée d’Art Contemporain, France (2001); “Heptopod cephalopod”, X Documenta de Kassel, Museum Fridericianum, Kassel, Germany (1997). In 1996 he received the Antarctica Artes Prize with Folha and the IBEU Prize for Plastic Arts.

Cabelo’s works are part of the collections: Gilberto Chateaubriand and Joaquim Paiva of the Museum of Modern Art of Rio de Janeiro – MAM RJ, Instituto PIPA, Banco Itaú S.A Collection, João Sattamini – Museum of Contemporary Art of Niterói.


Aurora Incorporates Cobra Coral:

an Afro-religious perspective


Cabelo brings to a manor house in Morumbi the experience of a sensitive person inspired by the mediumistic manifestation of Afro-Brazilian religiosity. This statement touches only the thinnest surface of what the exhibition in question is capable of bringing about. As an Afro-religious priest and art lover, I was able to see some layers – or rather, some fragments that relate to my own religious experience, which made me feel, in the opening afternoon, as if I wasn’t at an ordinary opening, but participating in a ritual celebration. The possible incongruity of this feeling concerns the contrast between the universe of art, with its very specific rules and protocols, and the opening of the house within which other openings signaled by Exu manifested themselves.

There, the deity Exu dominates, sovereign, fundamental in the Afro-religious pantheon, being mainly the one who provides the openings, not infrequently being the opening himself. Opening of entry and exit, in which he occupies the threshold, the limes, the limit, the non-place, where everything can be and occur, beyond good and evil. This position places him in a zone of uncertainty, which unites and separates, which is strictly neither inside nor outside and which, for this very reason, points to a danger inherent in a state of expectation of losing one status in order to obtain another. It is not fortuitous, therefore, that the exhibition is marked by a “signaling”, by sets of ideograms shown in its engravings, recalling the “space markings” of graffiti and urban graffiti. These signs of rebellion and “dirt”, moving limits, border markers that paradoxically do not demarcate, but invade institutionalized territories. Instruments of deterritorialization.

The sign of incorporation, in the title of the exhibition, reminds us that the body (like the house to which it is synonymized in Lygia Clark’s quote that serves as one of the themes of the exhibition) is a territory. In the rites of incorporation by deities and entities of Afro-Brazilian religiosity, this body is deterritorialized. It starts to belong to another, lending it solidity, gesture, voice, look. Cobra Coral is the name of an Afro-indigenous entity worshiped in Umbanda, which bears in its name the power of the homonymous snake of the genus Calliophis, small, fragile in appearance, but fearsome. A sign of danger that associates it with the collection of signs that embody the exhibition and, by extension, Exu.

These signs designed by Cabelo are irreducible to communicative interaction (although Exu is, among other things, the deity of communication). They show, warn, attract and repel danger as a focus of avoidance or seduction. They fascinate like the mythical gaze of the snake, in its cacographs (as I decided to call it). However, like the serpent that symbolizes, the exhibition has its segmented structure, the opening duly manifested in the signs representing Exu, such as the crossroads and the phalluses that accompany us all the time – a caduceus of the Hermes-conductor-of-souls. Baton of the master of ceremonies.

This opening, however, seems to abandon its liminal uncertainty in the face of the sign expressed in the Iron Mirror, in which the spectator sees icons of sensitive functions: vision, hearing, touch, taste, vocalization and sexualization. However, a mystery is established: is it a mirror in which we see our primal functions, or a board from which we borrow those functions that our daily lives have weakened in us, or serves as a depository for those functions that this very day-to-day “addicted” so that we can drop our “skin” like snakes and expose ourselves, stripped of our “civilized” cloaks, like curious and fearless little children, to the surprises of new senses? “Lasciate ogni speranza, voi ch’entrate…”

At the other extreme (which is simultaneously the center) the fireplace, the assembly of spirits and the sacred ancestral mask, the Molochian face/fauce and terrible that the house fireplace, original and etymologically dwelling of homes, domestic spirits of the Greco-Roman house, now occupied by undomeable powers, with Eshu himself at its heart. The opening of the fireplace becomes Exu Enubarijó, the wide-open and gluttonous Collective Mouth, with smoldering eyes and nostrils, showing these indomitable spirits inside, without explaining whether it is swallowing or regurgitating them, or simply showing them as a grimacing and insolent child. This symbolic/iconic core of the house seems to express the very mechanism in incorporation. Exu is the displaced artifact that the house ingests to surrender as a body – sinuous, phallic, dancing and transmuting of Cobra Coral.

Robson Cruz
Babalorixá and Anthropologist, 2021.