In July 2026, the exhibition [𝗮𝗶𝗻𝗱𝗮], which explores the ten-year history of the Zika epidemic in Brazil, travelled to Hiroshima, Japan. The aim was not to equate incomparable tragedies, but to draw parallels between two regions shaped by long histories of memory, care, and reconstruction. Hiroshima knows all too well what it means to live in the aftermath of an event that reshapes time, relationships, and the imagination of the future. It is in this context that the stories of the women and children of Alagoas arrive—stories marked by an emergency that no longer makes headlines but has never truly ended for those who continue to live with its consequences.

The exhibition, first shown in Maceió (Alagoas), then Brasília, was recreated in Hiroshima. The journey between Brazil and Japan was not merely geographical. The installation required new solutions, different ways of telling stories, and a collaborative effort between Brazilian and Japanese teams. The exhibition changed as it travelled. The photographs of the women appear in small frames, almost like Polaroids, backlit, while a chita curtain moves through the space. Chita fabric carries a history of colonial circulation, but it is also deeply embedded in Brazilian daily life. In the video, it functions not merely as a backdrop: it traverses times, territories, and memories.

In the background, you can hear the cicadas of Hiroshima, one of the most intense sounds of the Japanese summer. The sound transports the exhibition to another time and another landscape, while the photographs establish a delicate connection with the Women’s Peace Museum in Tokyo, where flowers commemorate the children who have passed away. In Hiroshima, the exhibition found new ways to speak about absence, permanence, and care. The exhibition tells the story of the women of Zika, but it also learns from the places it passes through and from the people who help it come to life again.