From the Wapichana people, Gustavo Caboco (1989) works across visual arts, cinema, and literature. His work creates spaces for reflection on the displacement of Indigenous bodies, the processes of valuing Indigenous cultures, and the right to memory. A significant part of his practice takes place in educational spaces, such as schools, universities, cultural centers, Indigenous and quilombola communities. He conducts independent research in museum archives and collections as a way to counter hegemonic narratives of coloniality.

In 2001, he made his first “return to Wapichana land,” and in addition to being a published author, he has participated in several national and international exhibitions, including the 34th São Paulo Biennial (2021), and co-curated the Pavilhão Hãhãwpuá at the Venice Biennale in 2024 alongside Denilson Baniwa and Arissana Pataxó.

Surrealist Dinner (2025) is part of the series Nas peles de papel ou mundo karaiwe, in which the artist reflects on the social aspects of the art system—institutions, cultural apparatuses, artists, collectors, galleries, and critics—from an Indigenous perspective. “Peles de papel [Paper skins]” is how Davi Kopenawa refers to the non-Indigenous world, which depends on paper and writing to tell and validate its stories—and which differs from the Indigenous Art System where memory is embodied. In this series, Gustavo deepens his research on the dynamics of artist validation in the Karaiwe (non-Indigenous) world.