This Saturday, April 29, Lidia Lisbôa (1970, Vila Guarani/Terra Roxa, PR) opens her solo show "Ofício: Fio: Mulher Esqueleto", at Sesc Pompeia's warehouse, in São Paulo. 

The artist rewrites the archetype of the skeleton woman — as presented by American author Clarissa Pinkola —, pointing to the possibility of the feminine making and remaking oneself. With pieces from different periods of her career and a large group of new works, Lisbôa proposes a journey through the life-death-life cycle.

Using crochet, sculpture, drawing, and performances, the artist addresses historically feminine practices to weave narratives crossed by her history and social, political, and environmental issues.

In the critical text that accompanies the exhibition, curator Guilherme Teixeira writes "Here we stop. We look to the side. We breath. We are beings with fragile chests, and we need air to be able to enunciate the gesture where weave and curve give a name to each knot; the finger's node that meets the fiber's knot and the phalange that intermittently pushes the earth, making possible another kind of architecture; the node of memory that begins in Guaíra, and unfolds through Lidia's history until our eyes and our doubts, as it throws into space the path of a body that gives in to its own weight, that extracts from itself fragments that receive the space — and all those who propose to be in it, in a movement that inhabits, from the top of its dance, the future and the testimony: there is an affection in the knot and in the way Lidia Lisbôa's proposition spills out, from cloth to earth, from playful to captive, from silence to scream, from confinement to being able to space. Just as one compresses a bone, one tightens a knot. Like witnesses of an assisted dissection, the invitation here asks, no... it demands, comprehension, for the exercise of autopsy of a structure is constant".