Gustavo Caboco, of the Wapishana people, works in the fields of visual arts, literature, and cinema. His work explores multiple media, such as drawing, painting, textiles, installation, performance, photography, video, sound, and text. Creating devices for reflection on the displacement of indigenous bodies, the processes of (re)territorialization and memory production. His artistic training began in childhood, in his mother’s Lucilene Wapichana sewing studio, who has always told him about the family, the landscape, and the memories of the maloca of Canauanim, in Roraima, from where she was taken at an early age.

The lessons learned from the threads and the stories of his mother are the foundation of Caboco’s research, whose driving force is the pathways that lead to the original territory, the steps to “return to earth”. His artistic practice takes shape in this transit, strengthening the threads that weave together the memory of the ancestral relationship with the land, a memory nothing can erase. An important part of his propositions also take place in educational spaces, such as schools, universities, cultural centers, and indigenous and quilombola communities, in which Caboco proposes practical anti-colonial pedagogical activities. In addition to countering the hegemonic narratives of colonialism by means of his autonomous research in museum collections and archives.

Caboco held the solo shows Manhaba’u: onde toca o invisível (2024) and ouvir à terra (2023) at Millan, São Paulo, Brazil. The artist was part of the curatorial team for the Hãhãwpuá Pavilion, which represented Brazil at the 60th Venice Biennale (2024). Caboco was invited to the aabaakwad indigenous meeting at the Sámi pavilion at the Venice Biennale, in Italy (2023). He started the Ateliê-Lavrado residency and held the seminar Fortalecendo Fios at the British Museum, in London, UK (2023). In 2022, he was a guest artist at the 32nd exhibition program of the Centro Cultural São Paulo – CCSP, Brazil, where he presented the show Coma Colonial; he developed an unprecedented work for the project Respiração 25: Devir Indígena, at the Casa Museu Eva Klabin, Rio de Janeiro, Brazil, and held the performance encontro di-fuso, at the University of Manchester, UK, during the Festival of Latin American Anti-Racist and Decolonial Art.

Among his notable group shows are: Complexo Brasil, Calouste Gulbenkian Foundation, Lisbon, Portugal (2025); Threads to the South, ISLAA, New York, USA (2024); Mupotyra: arqueologia amazônica, MuBE, São Paulo, Brazil (2024); Objeto Sujeito, Museu Paranaense, Curitiba, Brazil (2024); Indigenous Histories, Kode Stenersen Museum, Bergen, Norway (2024); Objeto Sujeito, Museu Paranaense, Curitiba, Brazil (2024); Histórias Indígenas, MASP, São Paulo, Brazil (2023); Um Século de Agora, Itaú Cultural, São Paulo, Brazil (2022); Parábola do Progresso, Sesc Pompéia, São Paulo, Brazil (2022); Atos de Revolta, MAM Rio de Janeiro, Brazil (2022); 34th Bienal de São Paulo (2021); Moquém Surarï, MAM São Paulo, Brasil (2021); Véxoa: We Know, Pinacoteca de São Paulo, Brazil (2020); and VAIVÉM, Centro Cultural Banco do Brasil – CCSP, São Paulo, Belo Horizonte, Rio de Janeiro e Brasília, Brazil (2019).

His work is featured in the collections of institutions such as The British Museum, UK; Denver Art Museum, USA; ISLAA, USA; Kadist, Paris, France; Museu de Arte do Rio – MAR, Brazil; Museu Oscar Niemeyer, Brazil; Museu da Língua Portuguesa, Brazil; Museu de Arte Contemporânea do Paraná, Brazil; Museu Paranaense, Brazil; and Pinacoteca do Estado de São Paulo, Brazil.