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.

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.

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.

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. “

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.

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.

Assistant Verbo 2017: Lynda Rahal

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

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

2017

The initial combustion leads to a fast rise, which at one point explodes violently.

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.

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.

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.

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.

2017

On a stone heated for hours with fire, performers dressed in formal outfits will unite with blood and fire.

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.

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.

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.

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.

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.

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.

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.

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.

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?

2017

Unpainted, unwritten, uncolored, unformed.

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.

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.”

Videobrasil Collection for Verbo 2017: The Erotic Body

2007

Video

1’47’’

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.

Videobrasil Collection for Verbo 2017: Self-image

2006

Video

6’

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.

Videobrasil Collection for Verbo 2017: Trans

2013

Video

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.

Videobrasil Collection for Verbo 2017: Gesture in Relation to

2013

Video

6’49’’

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.

Acervo Vidoebrasil para VERBO 2017: O corpo ritualístico

2014

Video

9’40’’

A obra mostra uma das mais importantes cerimônias da região do Dogon, no Mali: a procissão de mascarados que acontece durante o funeral de um patriarca. Os mascarados simbolizam os espíritos das florestas e prestam homenagem ao falecido com um ritual de dança chamado Dama, que o auxiliaria em seu caminho rumo à terra dos antepassados. No final do filme, os meninos parecem brincar, ensaiando participações futuras no ritual da cultura que os viu nascer.