VERBO 2017
Performance Art Festival (13th edition)
Galeria Vermelho & Galpão VB
11 – 15 July, 2017

Galeria Vermelho is presenting, from July 11 through 15, 2017, the 13th edition of VERBO Performance Art Festival.

An annual show created by Vermelho in 2005, VERBO is holding its 13th edition with the presentation of actions by Brazilian and foreign artists selected on the basis of 220 projects received between the months of December 2016 and March 2017. The selection of the projects was made by Thereza Farkas, director of programming of Galpão VB, by Carolina Mendonça, a theater and choreography director, and by the artistic director of VERBO, Marcos Gallon. Mendonça and Gallon were also responsible for the choice of choreographer and dancer Clarissa Sacchelli for the first edition of the project Temporada de Dança Videobrasil [Videobrasil Dance Run] -

With an interdisciplinary format, the project seeks to encourage approximations between dance, performance and visual arts based on a period of immersion and research in Videobrasil’s archive of works. The result of the research carried out by Sacchelli over the last four months will be presented on July 6 and 8, at 8 p.m., and on July 15 at Galpão VB as part of the programming of VERBO 2017 (complete programming below).

Verbo 2017 will also include a show of videos, organized by Thereza Farkas, based on Videobrasil’s archives. Farkas selected five works that dialogue directly with the content of the projects submitted to VERBO 2017’s selection process, in which the curator took part. The selection will be presented in Galeria Vermelho’s Sala Antonio and includes videos by Alice Miceli, Rodrigo Cass, Luiz Roque, Akram Zaatari e Tiécoura N’Daou Mopti.

The actions that compose VERBO 2017 will be presented at Galeria Vermelho and also at Galpão VB. From July 11 through 14, Galeria Vermelho will be the location for the presentation of actions by Alexandre D’Angeli (São Paulo/Brazil), Anthony Nestel [Coreography: Esther Arribas](Brussels – Amsterdam), Arnold Pasquier (Paris/France), Aurore Zachayus (Paris), Bruno Moreno (São Paulo), Carlos Monroy (Bogotá/Colombia – São Paulo), Célia Gondol (Paris), Cristian Duarte em Companhia (São Paulo), Dora Smék (São Paulo), Flavia Pinheiro (Recife/Brazil), Guilherme Peters (São Paulo), Grupo EmpreZa(Brasília, Goiânia, Rio de Janeiro/Brazil), Isabella Gonçalves (São Paulo), Janaina Wagner (São Paulo), Julha Franz (Porto Alegre/Brazil), Jorge Lopes (Américo Brasiliense/Brazil), Luanda Casella (São Paulo – Brussels/Belgium), Maurício Ianês (São Paulo), Mauro Giaconi (Buenos Aires/Argentina – Mexico City/Mexico), Old Masters (Geneva/Switzerland), Pontogor (Rio de Janeiro/Brazil), Renato Sircilli (São Paulo), Rodrigo Andreolli São Paulo), Rose Akras (São Paulo – Amsterdam), and Victor del Moral (Mexico City).

On July 15, closing day for VERBO 2017, Galpão VB will host the actions by Clarice Lima (São Paulo), Jorge Lopes (Américo Brasiliense/Brazil), Julia Viana & Luciano Favaro (São Paulo), and Clarissa Sacchelli (São Paulo). After the presentation by Sacchelli, there will also be a session open to the public, at which the artist will engage in a conversation with Isabelle Danto, curator from Centre Georges Pompidou moderated by Carolina Mendonça.

Verbo 2017 is receiving support from the Swiss foundation Pro Helvetia, the French Consulate in São Paulo, Institut Français, and the Secretariat of Foreign Affairs – the Mexican Agency for International Cooperation for Development, Forum for Live Art – FLAM, Basis for Live Art – BLA, Mondriaan Fund,, Stella Artois and Stad Gent.


11/07 – 8 p.m.

Sala Antonio:
Videobrasil Collection for Verbo 2017: The Erotic Body
Alice Miceli: Jerk Off 02 – Projeto Dizima Periódica [Repeating Decimals] (2007) Video
How to represent the infinite space between two points? Making reference to Andy Warhol's classic film Blow Job (1964), the work, part of the Dízima Periódica series, departs from this mathematical principle
to create an image of sexual enjoyment, a situation connected to the limits of experience and imagination. By refusing the logic of the instantaneous, it invests in the image of what cannot be portrayed. Leaving aside naïve notions of the present time, it presents us a standard shattered by one of the most universal and common human activities.


Carlos Monroy: Re-Formando a Fé: 33 Reformances invisíveis [Reforming Faith: 33 Invisible Re-formances] (2015).
A series of 33 Re-formances, each conceived for a respective year of the artist’s life. All of them have the main characteristic of invisibility and the passage of time. During action, Monroy makes cards available with information on each of the 33 Re- formances. The observer can also call an operator who will furnish information about the content of each action. Each of the Re-formances will be shoot using a Polaroid camera. The image produced will be immediately displayed in the hall at the gallery’s entrance, where the action will take place.

Mauro Giaconi: Línea Necia (2016).
The interventions by Mauro Giaconi invade the exhibition space creating a conflict in the space’s architectural structure. Mixing with the building’s functional elements, Giaconi’s actions point to a dilemma between reality and representation.

Victor del Moral: Puro rollo, bla, bla, bla ... (to be titled) (2012-2016)
A one line poem written on a paper roll of 100 meters long falls down as the artist reads it from the top of Vermelho’s building. The roll falls on top of a speaker obstructing the next thing to be declared. Everything that was said should fall literally - a comment on the failure of language. The possible linearity of the text is cracked. There’s no other access to it besides its own fragmentation. The text becomes sculpture.

Guilherme Peters: Escola sem partido [School without a Party] (2017).
In the wee hours of the morning of March 31, 1964, a military coup arose against the Brazilian government legally constituted by João Goulart. Escola sem Partido considers this historic fact to approach the governmental coup perpetrated by the congresspeople – deputies and senators – involved in cases of corruption, in 2016.

Bruno Moreno, Isabella Gonçalves e Renato Sircilli: Ninguém [Nobody] (2017).
"Two people enter into a non-protection agreement searching achieve a body that allows themselves to act for nothing. An attempt to abandon what one is, in search of the miracle of becoming no one. "

Grupo EmpreZa: Defumação (2014).
Eight performers in business outfits, clothing and rustic leather masks make a "procession"
tour. The procession is guided by the smokers, who carries incense and dry cow dung in the censer.

Grupo EmpreZa: Vila Rica (2009-2017).
Eight bodies in formal attire. Duration, event, the public, the time of day, an axis. Gold leaf, white stones, a red river, a rich village. A briefcase in hand, are we permitted? Drops either mark the way or dry on hot stone. The flesh, the bodies, the rules, the verb that becomes red.


Sala Antonio, 1-11 p.m.
Videobrasil Collection for Verbo 2017: Self-image
Rodrigo Cass: Narciso no Mijo (2006). Video
The artist urinates on the floor, creating a self-portrait from his reflection in the puddle. Escaping the tragic fate of the mythological Narcissus, the artist dries up the urine with a clothes iron and his reflection dissipates into vapor.

Actions, 1-11 p.m.

Carlos Monroy: Re-Formando a Fé: 33 Reformances invisíveis (2015).
Durational action (description above)

Actions, 8-11 p.m.

Dora Smék: Transbordação [Overflow] (2015)
A long line of women standing side-by-side, wearing pants and everyday clothes, breathe in and breathe out in unison. Transbordação aims to bring to the exhibition space the ephemerality of performance and of the body’s physiological times; translating multiplicity into a collective aesthetic experience, with the aim of problematizing the woman’s place in the current context.

Rose Akras: Blank (2017)
Unpainted, unwritten, uncolored, unformed.

Jorge Lopes: O Falecimento da Escuta [The Death of Listening] (2017)
O falecimento da escuta is an action created based on movements that often appear in self-portraits. The artist interacts with soil (land), making an allusion to his ancestrality. According to him, the act of expanding and contracting his own body conveys a criticism of the nearly complete absence of black artists in the current art field.

Julha Franz: Mulher-espinho [Porcupine Woman] (2017)
With 1,100 thumbtacks, the artist transforms herself into a porcupine woman. The naked body generates defenses, an armor as a response to the attacks on gender and the violence committed against women.

Victor del Moral: Livro-máscara [Mask Book] (2017)
This action consists in the choreographed reading of texts that concern the act of reading and writing. “I want to emphasize the house as a book, the book as a house, and the book as a mask for facing reality.”

Flavia Pinheiro: Diafragma: dispositivo versão Beta [Diaphragm: Beta Version Device] (2014)
Diafragma dispositivo versão beta is a performance/manifesto constructed on the basis of low-tech devices and obsolete technologies. The action enhances the obsoleteness of these devices by working with impossibility. Even when it works, the movement is no longer useful. An elegy to jerry-rigging and precariousness.


Sala Antonio (1-11 p.m.)
Videobrasil Collection for Verbo 2017: Trans
Luiz Roque: Ano Branco (2013). 6’49’’
By broadening the scope of his artistic inquiries, punctuated by his O Novo Monumento, the artist lays bare the interdependence of body and space, and therefore of sexuality and space – the latter being understood in all of its dimensions. Spanning from a supposed lecture from Paul B. Preciado – where sex, gender and sexuality are recognized in their political uses – to the actual plot, featuring a transsexual living in the year of 2031 –, the film singles out the freedom of the body as a key element in defining one’s individual liberties. At a time of political-social turmoil, the piece depicts government clinics where transsexuals are treated – places on the verge of extinction where the main character gets medical attention. Symbolically, the discontinuation of these official sites and the shifting of gender and sex change treatments into aesthetics clinics go down in history as the White Year, a moment of political radicalization and bodily autonomy.

Actions, 1-11 p.m.

Carlos Monroy: Re-Formando a Fé: 33 Reformances invisíveis (2015).
Durational action (description above)

Actions, 5-11 p.m.

Alexandre D’Angeli: Vestindo Hiatos [Wearing Gaps] (2017)
A performance that lasts eight consecutive hours, Vestindo Hiatos establishes a reflection on the phenomena of abandoned buildings and real-estate speculation, and their relation with the processes of organized squatting and gentrification. Based on these ideas, the artist proposes an action in which twelve white shirts previously embroidered with loose stitches can have their sewing taken apart by the observer throughout the action. Worn one by one throughout each hour, the embroidered pieces present architectural plans of buildings that are occupied by squatters or are at the fringe of real-estate speculation.

Actions, 8-11 p.m.

Célia Gondol: Slow (2014)
Slow is a dance piece that anyone can experience insofar as it is not related with any specific choreographic context. The action proposes, in a simple way, a relationship with feeling, seduction and tenderness: two people moving simultaneously during a song.
Assistante Verbo 2017: Lynda Rahal

Aurore Zachayus, Janaina Wagner, Pontogor: Mágica [Magic] (2017)
This action has as a trigger the conceptual and visual inversions and agreements inherent to the act of executing a magic trick – in the world of magic the spectator of a trick knows that he or she is being deceived, yields to the deception, falls into the deception, and has fun with the deception. To carry out this action, five magic tricks were developed. Ursula Southeil, a magician, will present a fortune-telling session, with sleight of hand, in which each narrative prediction leads to spectral mixture where past, present and the yet-to-come are blended in a tangle of stories, truths, lies and facts.

Arnold Pasquier: O amor moderno [Minhocão], (2017).
This action, which mixes cinema and performance, is part of the series by the artist entitled Modern Love. The series proposes the invention of a love affair related to the specific architecture and landscape of determined cities. In this case, the city is São Paulo, and the place is the controversial Minhocão (Presidente João Goulart Elevated Roadway), where the artist will capture all of the cinematographic content in a single long take.

Anthony Nestel: The Seafroth Knows Neither Pain nor Time (2017)
Coreography: Esther Arribas
In the piece, Nestel invites the audience to think through contemporary issues related to refugees, racism and the rise of right- wing nationalism in an increasingly interconnected world, all the while placing himself at the center of this endeavor.


Sala Antonio (1-11 p.m.)
Videobrasil Collection for Verbo 2017: Gesture in Relation to
Akram Zaatari: The End of Time (2013). Video
In this choreography for two lovers, staged by three people, the artist conjures a silently poetical portrait of aborted romances between men who try to love each other and share their belongings. The piece deals with the dynamics of male desire as an infinite chain of beginnings and endings that sadly points to the impossibility to sustain passion in the face of time and reality. The lovers all meet in a white, abstract setting while the sound indicates that there’s another world beyond this non-place, infinite like the backdrop to a dream. The giving away of belongings that follows the conversations, however, is a flicker of hope for the future, represented by the photographs – the inheritance of desire – that one lover invariably gives to the other.

Actions, 1-11 p.m.

Carlos Monroy: Re-Formando a Fé: 33 Reformances invisíveis (2015).
Durational action (description above)

Actions, 8-11 p.m.

Rodrigo Andreolli: Remote Dance (2017).
A dance ritual realized at a distance, remotely, in which two or more people, in different places, move simultaneously in an attempt at subtle communication in the invisible. Their bodies are activated as instruments in a composition of indeterminate authorship, shared by those who dance as well as by those who observe. Based on the exercise of deep listening, this practice seeks an improvisation emerging from the space-time continuum and is supported on the effects of the theory about the quantum entanglement of bodies. On this plane of existence, we are all affected by each other’s actions, and information circulates and is accessible at different degrees of sensitivity. How to train our bodies to enable us to enlarge the surface of contact? How can moving within this plane alter our movement?

Cristian Duarte em companhia: O que realmente está acontecendo quando algo acontece? [What is really happening when something happens?] (2017)
The initial combustion leads to a fast rise, which at one point explodes violently.

Old Masters: Constructionisme (2015).
With Constructionisme, Marius Schaffter and Jérôme Stünzi propose to assume the power over the construction of reality. Before the public presentation of the action, the artists create study objects from scratch, giving them form within a radical perspective of handicraft. When the moment arrives, Marius Schaffter presents, analyzes and dissects the sculptures produced. Meticulous, refined and passionate, he reconstructs the meaning that underlies – or lies on the surface of – these objects.

Luanda Casella: Short of Lying (2017).
Short of Lying is a performance about bullshit in its various senses. A range of strategies are applied in the discourse of the bullshitter wherever he or she may be – media manipulator, corrupt politician, professional imposter, marketing neuroscientist, pharmaceutical industry businessperson, religious leader, or fortuneteller. In this work, this form of discourse is approached through a literary perspective and compared to the discourse of various unreliable fictional narrators: those who furnish imprecise, contradictory or questionable information to the readers to gain their sympathy, often obscuring the realms of ethics, knowledge and highly creative perception.

Grupo EmpreZa: Agreement (2017)
On a stone heated for hours with fire, performers dressed in formal outfits will unite with blood and fire.

Maurício Ianês: Velar[Watch] (2017)
Velar is an action conceived to be executed by a group of participants who will gradually fill the exhibition space, to the point where there is no empty space left. The exhibition visitors who are in the space will be captured amidst the participants. Once the room is filled, the participants will begin a movement of intense and continuous breathing. The action instates a game of power between individuals and the collective, revealing the relationships between artwork, spectator, the body and the institutional space.

15/07 – 11 a.m. - 5 p.m.

Sala Antonio (11 a.m. – 5 p.m.)
Videobrasil Collection for Verbo 2017: Ritualistic Body
Tiécoura N’Daou Mopti: Danse des Masques en Pays Dogon (2014). 9’40’’
Danse des Masques en Pays Dogon shows us one of the most important ceremonies in Mali’s Dogon region: the masquerade procession that takes place during a patriarch’s funeral. The masqued men symbolize the forest spirits and pay homage to the deceased in a dance ritual called Dama, which helps him along his path toward the land of ancestors. In the end of the film, the boys appear to play, rehearsing future participations in the ritual of the culture into which they were born.


Julia Viana & Luciano Favaro: Exposição rodante solo sul [South Soil Mobile Exhibition] (2017)
Exposição rodante solo sul is a mobile and temporary exhibition that deals with the concepts of territory and border based on an experience of border crossing, taking as a device the presence of artists and the automobile they rode in while crossing through the South American continent. The exhibition feature videos, photographs, a garden and a library.

Clarice Lima: Coreografia [Choreography] (2016)
Coreografia is a device created to tension the involuntary choreographies that we use to move around in the spaces of galleries, museums, theaters, cultural centers and other areas with a great flow of people.

Jorge Lopes: O Falecimento da Escuta [The Death of Listening] (2017)
O falecimento da escuta is an action created based on movements that often appear in self-portraits. The artists interacts with soil (land), make an allusion to his ancestrality. According to him, the act of expanding and contracting his own body conveys a criticism of the nearly complete absence of black artists in the current art field.

Clarissa Sacchelli: Boas Garotas [Good Girls] (2017).
Boas garotas investigates the relations between video and performance, between the public and the artistic work, exploring eroticism as a way of questioning and exciting the links between seeing and being seen.

Clarissa Sacchelli in collaboration with Carolina Callegaro, Luisa Puterman and Renan Marcondes.
*Temporada de Dança Videobrasil

Conversation open to the public with Clarissa Sacchelli and Isabelle Danto, curator from Centre Georges Pompidou mediated by Carolina Mendonça.

VERBO 2017 – Mostra de Performance Arte (13ª edition) 11 to 15 July, 2017
Galeria Vermelho - Rua Minas Gerais, 350, São Paulo - Tel.: 11 3138-1520 Galpão VB - Av. Imperatriz Leopoldina, 1150, São Paulo – Tel.: 11 3645-0516 -