2021
11’50”
Vídeo
Roteiro, direção e montagem: Abiniel João Nascimento
Produção: Gabriela Monteiro
Direção de fotografia: Mitsy Queiroz
Assistente de direção: Karuá Tapuya-Tarairiú
Direção de som: Priscila Nascimento
Direção de arte: Ziel Karapotó Elenco: Abiniel João Nascimento, Priscila Nascimento, Wilemberg Guerra e Ziel Karapotó

Araçá is particle of time.

In darkness, is everything swallowed? What can’t one see through distracted eyes? Through attention in integrating one’s senses, is it possible to map the blind spot of presence?

Grupo Cena 11 develops and shares technical tools grounded on the relations between body, environment, subject, and object, as variables of a single living system existing as dance. The group’s research and formative projects converge theory with practice and question what defines a body, approaching technology as expansion and extension of such. Led by artistic director Alejandro Ahmed, Grupo Cena 11 is based in its home city of Florianópolis (BR) and has operated in artistic productions since 1995. Company members come from backgrounds in diverse areas, and compose the base for a production in which an idea gains expansion within the body and organizes itself as dance.

Creation, Choreography and Performance: Alejandro Ahmed, Aline Blasius, Bianca Vieira, João Peralta, Karin Serafin, Kitty Katt, Luana Leite, Malu Rabelo, Natascha Zacheo
Sound and Video Operation and Creation: Alejandro Ahmed e João Peralta
Technical Direction: Karin Serafin
Production Assistant: Malu Rabelo
Movement Direction Assistant: Aline Blasius
Sceno Technical Assistance: Adilso Machado
Social Media, Project, and Production team: Aline Blasius, Bianca Vieira, Kitty Katt, Luana Leite, e Natascha Zacheo
Graphic Pieces: Luana Leite
Photos: Cristiano Prim e Karin Serafin
Translation: Kitty Katt e Marcos Morgado
Technical Preparation: Aline Blasius, Kitty Katt e Alejandro Ahmed
Technical- artistic development in Dark Matter 2019/2020 and Teaser for Phantom Future 2020: Hedra Rockenback
Texts: Grupo Cena 11
Technical – artistic dialogue for creating videos for “Dark Matter”: PACT-UFSC (João Peralta, Rodrigo Garcez, Thiago R. Passos.
“Dark Matter” Camera operation: Karin Serafin e João Peralta
Drone operation: Alex Costa
Coproduction: Mousonturm, Tanzhaus NRW, PANORAMA RAFT, Instituto Goethe, Gabi Gonçalves, Corpo Rastreado – São Paulo, Something Great – Berlin.
Support: Prêmio Elisabete Anderle de Estímulo à Cultura ⁄ Edição 2019. Departamento de Artes – Universidade Federal de Santa Catarina (ART/CCE/UFSC)
Thanks to: Adélia Aurora, Ana Lucia Rodrigues, Andrea Druck, Aurora Khan, Aya Nishimuta, Bartolomeu, Batman, Binha, Breu K. Katt, Bruno Bez, Cassiana Kerber, Caio Matienzo, Candy, Cecília Blasius, Chewie, Cristina Schmitt, Eveline Orth, Fabiana Dultra Britto, Florentina, Francisco J. Peralta, Gabriel Guedert, Gatite, Gianca Piccolotto, Gizely Cesconetto, Héctor Lamela, Hedra Rockenbach, Íris, Jamile de Souza Santos, Khaninanas Cobras, LABLUZ/UFSC, Ludovico, Luiz Falcão, Luiz Felipe Guimarães Soares, Maki, Marcos Klann, Marcos Morgado, Mateus Ramos de Melo, Maurício Pires Marin, Muha, Murilo Brogim Leal, Neltair Piccolotto, Nina, Norma Adó, Pedro Mello e Cruz, Rodrigo Garcez, Theo Gomes, Thiago R. Passos, Vanderlúcio Cunha.
Conception, Artistic Direction and Choreography: Alejandro Ahmed.

In PRIVATE: Wear a Mask When You Talk to Me (2016), Alexandra Bachzetsis investigates how gender and sexual identity are fabricated through body gestures and rituals of repetition.

Alexandra Bachzetsis [1974, Zurich] is a choreographer and visual artist based in Zurich. Since the beginning of her career, the artist has worked collaboratively with groups such as Sasha Waltz & Guest (Berlin), and Les Ballets C. de la B. (Gent). She has participated in dance festivals and exhibitions around the world, including the Kunsthalle Basel (Basel, 2008), the Stedelijk Museum (Amsterdam, 2013 and 2015), and Tate Modern (London, 2014). She took part in biennials, such as the 5th Berlin Biennale (2008), (d)OCUMENTA 13 (Kassel, 2012), and the Moving Images Biennial (Geneva, 2014).

PRIVATE integrates the extended program of Verbo 2022.

Curatorial text by Paul B. Preciado:

In the late 1960s, Trisha Brown created a series of pieces dedicated to exploring every day movement and behavior. In order to denaturalize the dancer’s and the audience’s relationship to everyday uses of the body, Brown decided to stage the movement on a vertical wall, defying gravity using harnesses and ropes. Displaced to a vertical framework, ordinary movement was seen for the first time as a highly staged gesture, almost a virtuoso individual performance of an embodied normative cultural script.

A critic would say: Alexandra Bachzetsis’s solo PRIVATE: Wear a mask when you talk to me could be considered a sort of an “equipment piece,” where what it is to be explored is how everyday behaviors of gender and sexual identity are reproduced. Bringing Brown’s choreographic tradition into the highly techno-baroque world of global pop culture, PRIVATE is an unsolicited report, fifty-three minutes in duration, on how gender and sexual desire are fabricated through the ritualized repetition of bodily gestures within the neoliberal regime.

In PRIVATE, there are Oriental drag queen dances, gym and western yoga exercises mutating into football and porn poses, stock moves from theatrical training for advertising and the repetition of Michael Jackson’s rituals by teenagers. There is Trisha Brown transitioning into Rembetiko, and a single voice fighting to survive national and gender identity social theaters.

However, PRIVATE does not mobilize techniques of parody that have been developed within feminist and queer cultures during the last years. It doesn’t aim to represent the process of embodiment of gender and sexual norms, but rather it explores the instances of performative failure and inner transition that allow for agency and resistance to emerge. How much history of discipline and dissidence can be encapsulated within a single gesture? Can movement activate the memory of the subaltern bodies that have been buried underneath hegemonic codes?

I would say: I hear your voice singing to me when my own body falls in a void between cultural gender notations. Your voice, exhausted after fighting naturalized gender codes, reminds me that the void embodies an opportunity for agency and survival. PRIVATE is a timeless hymn to transitions. A notation of its inner development, but also a mourning sketch for possibilities that were once open but can no longer be realized. In the end, this dance is not about normative gender performativity, but rather about the somatic energy that allows us to introduce moments of what Jacques Derrida called “improvisatory anarchy” in order to interrupt history and trigger cultural change and political transformation.

2021
6’13’’
Vídeo

A body comes out of inaction and, in circles and spirals, it gains the air. The meditative state in formation and the natural attention of the body. The action of the body materializes the non-action of the mind. This work was carried out at an artistic residency in a Zen Buddhist monastery in Ibiraçu, Espírito Santo.

2021
9’ 19”
Video
1 canal
16:9
estéreo
cor

The suspended time outside; the remote routine inside the homes; we lose the connection with a possible future. The experience with the external world, the events, became mediated by devices. Autumn coming to the house, so I resign myself to time; myself dissolving on a floor of leaves.

2020-2021
23’
Filme
Ação, Direção e Produção: Amanda Maciel Antunes
Cinematografia: Amanda Maciel Antunes e Sonia Hernandez
Composição Musical: Philip DuPertuis
Ação realizada durante 365 dias; 1,095 horas, de 15 de março de 2020 a 15 de março de 2021.
Performance carried out for 365 days; 1,095 hours, from March 15, 2020 to March 15, 2021.

This film is a portrait of an action of resistance, an appeal to the memory intention and to stillness. I spent 365 days walking up and down a mountain with a piece of cloth, an audio recorder, a cell phone, a GoPro camera, sewing threads and needle. The text in the form of poetry was written during the hike, and was hand-stitched upon reaching the summit. The trail is located on the oldest mountain in the San Gabriel Cordillera, California.

2022
Performance

Obra criada a partir da residência em Alcantara(MA), na Casa do Sereio, em agosto de 2022.

Dentro de qualquer tipo de reino, domínio, ou desejo de dominação, existe a contingência da ruína em potência de autodestruição. Essa relação é tão intrínseca que as palavras “reino” e “ruína” são quase a mesma. Na história de nossa constituição como nação, muitos são os escombros que contam sobre a presença do desamparo colonial e ainda muito outros escombros existenciais nos revelam que a existência de uma ideia de nobreza detona as estruturas de nossas identidades. Em Alcântara – MA conheci as ruinas da expectativa pela chegada da família real e me pus a compreender os danos dessa relação em outros territórios, incluindo o meu próprio corpo, com tinta e carimbo de uma oficialidade sanguínea.

2022
Performance

André Vargas participates in Verbo 2022 with an action developed during a residence period at Casa do Sereio, in Alcântara (Maranhão). Casa do Sereio is an artistic and curatorial arts-in-residence project coordinated by Yuri Logrado.

2021-2022
Performance
Com Áurea Maranhão
Preparador Corporal Luty Barteix
Figurino e produção Amanda Travassos
Percussão Valda Lino
Making of Keyci Martins
Luz Luty Barteix

A woman will be born, she will build her own body, she will mold her shapes, she will reinvent her steps, in an attempt to build a new existence, a new possibility of being… in process.

2021
11’
Vídeo
Full HD
Dirigido, filmado e performado por Bianca Turner

The different lines of demarcation from the Treaty of Tordesillas are drawn on the female body, to question the notions of Land and Possession, both in the European invasion and in the structural logic of patriarchy: “How can a territory/body be divided, owned and named even before being found?”.

2018
35’
Palestra performance
Carla Zaccagnini (Malmö, Suécia)
Comissionada por Kadist Foundation

Using the conference format, “O presente, amanhã” (“The Present, Tomorrow”) tells a series of stories that connect modern Brazil to its colonial past through the figure of the traitor. Stories of severed heads and pierced eyes.

Carla Zaccagnini (Buenos Aires, Argentina, 1973) lives in São Paulo, Brazil, and in Malmö, Sweden. She is a visual artist, professor of Conceptual and Contextual Practices at the Royal Danish Academy of Fine Arts, and guest curator at the 34th Bienal of São Paulo.

2022

Performance that sings a song for the future. Voice that opens paths to life after a suspension. Sounds in transit open to participation.

2021
32’
Filme
Direção: Davi Pontes e Wallace Ferreira
Câmera e edição: Matheus Freitas
Trilha Musical e Sound Design: PODESERDESLIGADO
Voz: Davi Pontes
3D: Gabriel Junqueira
Som: Nuno Q Ramalho
Direção de Arte e luz: Iagor Peres
Styling: Iah Bahia
Produção de Set: Idra Maria Mamba Negra
Apoio de Set: Gabe Arnaudin
Obra comissionada pelo Programa Pivô Satélite, 2021

In search of a choreography that does not require onto-epistemological pillars, the artists approach the thought of artist and philosopher Denise Ferreira da Silva to create a film without the ghost of linearity. The effect is an experimental work, in which they use the same procedures with which they elaborate their choreographies, a series of actions that deal with the uncertainty, the disorder and the provisional, in order to meditate on an out-of-time ethics for black lives.

2022
3 dias
Performance criada e apresentada na banca localizada no pátio da Vermelho.

In an action developed in three days, the group Além do Fim da Arte (Beyond the End of Art), discusses the relationship between the private and the public and the social responsibility of the artist, as part of the project to occupy the designated space at Galeria Vermelho.

2022
Duração: 60 min
Performance

Concatenating oral memory, serigraphic production, postage and mail art, the action aims to promote a storytelling network about Juquery, the psychiatric colony located in the municipality of Franco da Rocha (São Paulo), which had the inpatient service deactivated at the beginning of 2021, after 123 years of uninterrupted operation. The number 123, in addition to referring to this time frame, indicates the number of people who received phone calls, voice messages or who were approached in the streets of Franco da Rocha to share or listen to memories about Juquery, as if each participant were a mobilizing pointer of History always in progress. The phrase “These clock hands, like life, they flow, even if they seem stopped”, a translation of the Latin inscription engraved on the Juquery’s central clock tower, was the motto of the conversations. While describing the conversations and grouping the testimonies of the participants, the artist suggests that listening and existence are correlated notions.

2021
16’42
Vídeo cor e som

Held in March 2020 during the period of confinement, in this video a class on the role of watercolor painting in the colonization of Brazil is taught to fictional character Zé Carioca, created in the early 1940s by Walt Disney Studios. The class seeks to explore myths that permeate the formation of Brazil, and to show how the first representations of the Brazilian territory further potentiate these myths – which today are updated in a colonization process that happens mainly online, through the crossing of data generated from tools such as social networks and communication devices.

2020
3’14’’
Vídeo, som e cor
Direção, edição, câmera, intérprete, texto e voz Htadhirua
Apoio Lúcia Helena

I know well whom I have been believing, and I have become faithful to myself. Other people’s pain no longer penetrates me, and I have managed to fight back with beauty the fear disguised as gratuitous hatred for my body; I have clearly separated what is mine and what was theirs. Now I just want the monetary compensation of these crimes. “a b e r r a s s a u m” is the 1st episode of the video art series DIXXTRAVA, produced as a result of technologies created for the force of placement and transvestite life.

2022
Duração: 60 min
Performance
Apoio: coleção moraes-barbosa

Ritual recital performático III (Performative Ritual Recital III) is a set of actions presented through drawing, body and word, in which the expression of a black-pendulum body oscillates between the possibility of no longer existing in opposition to the lightness of the possibility of presence. Ritual performance recital III is also an action of conversion, where the graphics of death are transformed into graphics of life: my graphic-body, my graphic-language, my graphic-drawing.

2020-2021
Design de som: João Renato Orecchia
Câmera: Zen Marie
Homem de som: Neo Peterson
Pós-produção: Campxe films & Javier Velazquez Cabrero
Consultor de dança espanhola: Lina Ravines
Financiado por Ayudas a las Artes Visuales de la Comunidad de Madrid
Com o apoio de Nirox Foundation
Agradecimentos especiais para Benji Liebmann & Marta Moriarty

An urban dancer in search of understanding the roots of his gestures, his relationship with the folklore of Spanish dances, as well as the ancestral origins of our movements, carries out a conversation about identity and gestures with an experienced dance activist, choreographer and educator. from Johannesburg, South Africa: David Thatanelo April. This conversation is translated into a choreography that stages the communion of the gestural landscapes of both creators. It brings together a set of elements of traditional dances from southern Africa (Indlamu -Zulu dance- or Setapa -Tswana dance-), and from Spain with elements of flamenco, and street dance.

2016
17’
Vídeo cor e som
Criação e performance Jorge Feitosa

Corpo Ocupa Espaço Diminuto I (Body Ocuppies Scant Space I) is a video-performance presented in loop, where I inhabit the waters of a swimming pool dressed in suit and shoes. I test the limits of the relationship between body and physical space, thinking from bodies in their corporate environments.

2022
13’57
Registro de Performance

A crossroads represents the connection between two different points or the critical point at which a decision must be made. The path is long and requires strength and courage to uncross the paths that have not yet opened. Boyzebu is an elemental unit of the human existence finding its own rhythm; it is the ambiguity and plurality of feelings of a controversial body that at every step deconstructs the demonization of a stereotyped image. The (trans)formation is complex, circular and infinite.

2022
1’28”
Vídeo, cor e som

“Brado Retumbante” denounces Americanization and plays with the notions of homeland and identity. In drag, the artist sings a cappella a free translation of the Brazilian anthem into English.

2020
3’16”
videoperformance by Julha Franz

(A)LIVE is a performance created for live on Instagram during the pandemic, using a filter available on the platform and body makeup. For 1 hour, the artist pulses her mouth from the rhythm of heartbeats creating sensations that transit between breathing and asphyxia, generating bodily distortions in the image itself.

2020
1’43”
Videoperformance de Julha Franz
Música Belly and the Beast by Gazelle Twin

2020
Vídeo interativo

“10 estudos para uma videodança interativa” (“10 studies for an interactive videodance”) emerges from the encounter between dance and digital media. The project investigates the interactive possibilities in the field of videodance and the relationship between body and mobile devices. The work is structured in ten small studies that propose different forms of interaction and explore different aspects of dance and its bodily possibilities, inviting the viewer to take an active stance in creating the narrative by touching the screen.

2022
60’
Performance
Figurino: Maíra Mesquita
Luz: João Rios

The scaffold is the platform on which public acts of execution or solemn ceremonies are performed. The performance presents an attempt at dialogue between two characters built with references from different historical characters. Throughout the work, speech turns into noise and culminates in a violent conflict, mediated by a third entity that generates physical restrictions through shibari.

A body, even within a gallery under the status of a work of art, is still a body. As in police approaches, the bodies are leaning against the wall with their hands raised, a common image on the outskirts of large urban centers. This bodily condition enables reflections on various preconceptions, both in relation to the body and to art objects.

2022

A human body covered by white paper, with only one visible black foot, proposes a critical reflection on the eugenicist whitening policies which founded the Brazilian Republic. This whitening operates to “smother” not just the “traits”, but black lives in a deadly way.

2016
5’46”
Vídeo-performance, cor e som
Imagens Gabriela Sacchetto e Rafinha
Edição Regis Ramos
Stills Camila Huhn

The drenched body, mirrored by waters. Standing up, it looks at the horizon and assumes itself next to the wall and the sea, a sensitive territory joined to the winds that blow, rolling up dreams beyond horizons and desires, there where the gaze idly capsizes, resisting the fragments and wholeness that can only be seen and heard behind the walls. And upon seeing, transposes geographies, composes existences, home.

2016
6’16”
Vídeo, som e cor
Captação fotográfica: Jaque Rodrigues
Captação audiovisual: Eliana Amorim e Jaque Rodrigues
Edição: Francisco Luiz
Sonorização: Alda Maria e Diego Souza
Montagem: Maria Macêdo

To fertilize images is above all to observe the daily deaths and rebirths. To experience the desertification of the land next to the body. To listen very closely to the urbanization’s giant forager almost grinding fingers. I stopped counting the timbaúbas that were cut down in recent times, but I saved the seeds that will avenge us. How to curse the failed projects of modernity and dance life on the land we tread?

2020
4’48”
Vídeo/Experimental
Produção Coletivo Corporeidade
Fotografia Vitú de Souza
Trilha Sonora Vitú de Souza
Edição/Montagem Massuelen Cristina e Kaio B

A performance that celebrates the feminine, plural and ancestral. The search and the fear that permeate our bodies marked by pleasure and pain. The movements of time that crosses us; time where I dive into my unconscious maladjustment and that brings me back from the bottom where I trace ways of being and living in this world. This is how I become water where I write my experiences, I pass through and reflect on other bodies like a coral snake.

2021
3’56’’
Videoarte/Experimental

During the rites common to Exú, the Padé, an offering ritual, is common. The work has a series of photos and video performance that uses dance and the offering of candles to the Orixá as a way of meeting and homage that readjusts the tradition making its rite of offering body and art to Exú in a current and affective way.

2020
9’
vídeo

I make a snowball with my hands and walk it through the snow until it gets bigger and I can’t move it anymore.

2022
5’20”
Vídeo
Colaboradora Adriana Jamisse

“Amazon is Here” was developed from the question “what is nature?”, and seeks to reveal and juxtapose the relationship between nature and culture.

2021
8’45”
Vídeo, som e cor.
Com Bea Rodrigues, Diethild Meier, Irene Selka, Joyce Lainé, Julek Kreutzer, Jules Elting, Léa Lanoë, Letícia da Rosa, Licia Soldavini, Marcela Reichelt, Marion Breton Melissa Dullius, Nina Cavalcanti, Simone Donha, Vanessa Heeger, Bernardo Zanotta,
Felix Koch.
Produção Dedé Veloso, Nina Cavalcanti. Edição Aline Bonvin, Nina Cavalcanti. Camera Melissa Dullius, Bernardo Zanotta, Léa Lanoë, Joyce Lainé, Marion Breton.
Assistente de direção e consultora de movimento Simone Donha.
Produção executiva Letícia da Rosa, Luz Irene Selka.
Assistente de iluminação Helen Fritze.
Som Letícia da Rosa, Vanessa Heeger.
Sonoplastia Nina Cavalcanti.
Guitarra Ignacio Villa.
Mixagem David Debris.
Color Grading Gustavo Jahn.
Fotografia Bea Rodrigues.
Desenho gráfico Celina Kuschnir

A provocation. A film that raises questions and plays with the fine boundaries that separate reality from fiction. Performance within life. Rituals and movements as dance. I reworked the images of my wedding, with performers on stage, in an improvised way. I observed the movements of the ceremony in a choreographic way thinking about the subtle limits between representation and reality, art and life, fiction and documentary. On stage other women brought other colours, other sparks, other possibilities to this bride.

2021
17’23”
Vídeo, som e cor
Direção, dramaturgia, roteiro e interpretação: Felipe Damasceno, Honório Félix, Renan Capivara, Sarah Nastroyanni e William Pereira Monte.
Edição e montagem: Breno de Lacerda.
Realização: No barraco da Constância tem!

The jangadeiro Jacaré disappears in 1942, forging an immense hole. In the story, in the network or in the tissue of space and time, this rift presents numerous hypotheses about his disappearance and his saga. The fable of the northeastern man moving towards the epicenter of Brazil takes other directions, opening new entrepreneurial possibilities with the prophecy of his reappearance.

2021
26’21”
Vídeo, som e cor
Concepção, roteiro e performance Padmateo – @padmateo
Direção de fotografia e fotografias Alex Oliveira – @presente.vivo
Operação de drone: Claúdio Filmes – @claudiofilmes
Montagem e finalização Mário Oliveira – @mariorismo
Trilha sonora: Ramon Gonçalves (Aurata) – @aurataexperimental

In a post-human dimension, images wage a war against themselves. A creature must become invisible to survive. An experimental video-thesis based on research and methods of the invisible in the field of performance art directly related to the non-binary genre. An intimate experimentation on disidentity processes, disappearance and witness.

2019
Performance

I stand before you. Meanwhile my voice is being recorded. This recording will play again and again. For each repetition a new recording. For each recording another layer of voice. I call that Fagia. Fagia means to feed/nourish. Here I feed myself until the word is gone. The proposal is to investigate, mainly, the power of the body / voice in relation to the space through technology. As a dynamic interaction the body / voice feeds the recording, the recording feeds the space and the space feeds the improvisation.

As part of the extended edition of 16th Performance Arts Festival Verbo, Renan Marcondes presents the performance “Odiar os artistas (2019-2023) [Hate the artists (2019-2023)]” this Saturday, January 21st, from 13h to 17h at Vermelho.

The performance is an experience of recognition and bewilderment with hate, seeking to incorporate it when we are faced with it, but also recognizing it when we feel or reproduce it.

The performance is being developed as part of the research “Performing against the grain: signs of Benjamin in contemporary art”, funded by the Brazilian National Council for Scientific and Technological Development

2015-2021
Ação, movimento, direção e edição Sabrina Morelos
Captado em Colonia San Rafael, na Cidade do México.

Action in different acts that combines movement, Horton’s dance technique and improvisation, portraying the isolation, the illness, the silence or the noise that a person may experience under certain circumstances.

2020
Coreografia e movimentos: Sabrina Morelos
Direção e edição: Sabrina Morelos
Câmara: Jason Mena
Performance realizada en San Juan (Porto Rico)

To walk, to move forward, go back a little; turn and see the way; keep following the instructions of a manual or life. Between density, decadence, and the apocalypse, the black bird emerges from within the ashes, like a phoenix. Series of ritual movements that use the terrain of a construction as a backdrop.

2021
Vídeoperformance
Performance: Sebastião Netto
Montagem audiovisual: Thulio Guzman

Memories of a riverside dweller who, amidst the social isolation caused by the pandemic, through nostalgia sought to transform his apartment into a spaceship that would take him to a paraense sound system party. The movement can be collective, individual, it depends on the intention of how the sound echoes in your heart… Sounds, lights, looks, buckets, projections and a body trembling with sweat are fundamental ingredients for the success of the journey…

2022
150’
Perfomance
Direção Geral e Concepção: Igor Gasparini
Artistas-Criadores: Arthur Alves, Igor Gasparini, Kenedy Henrique, Maria Emília Gomes, Maria Izabel Jaccoud, Maju Kaiser, Pasha Gorbachev, Natália Moura e Ruan Trindade.
Provocação Corporal: Isis Gasparini, Luciana Lara e Marcela Levi.
DJ e Arquiteto: Tiago Guimarães
Fotógrafo: João Benz
Vídeo: Isis Gasparini

Zona Cinzenta (Gray Zone) establishes a dialogue between body and architecture in a conscious desire to inhabit the in-between. The work situates a body between ordinary life and the extraordinary and summons the grayish spectator to an experience of immersion between performance and visual arts, between movement and paralysis, between drive and rupture. A state of transformation that is established by permanence. An insistence on presence and an invitation for sharing and subversion. The event’s time is confused with the museum’s visitation periods and the public is captured by its own autonomy before the actions that spread through the gray spaces. To which states will the body be submitted? Surviving or giving up?

2021
28’
Vídeo, som e cor.
Projeto e Direção Isadora Lobo
Assistência de direção Carol Lobo
Edição Jéssica Hartmann
Criação e performance (por ordem de aparição) Giulia D’Aiuto, Beatriz da Matta, Nathalia Fajardo, Luana Farias.
Preparação corporal Bruno Bernardini, Thales Ferreira.
Fotografia Carol Lobo, Juliana Di Lello, Luana Farias, Maria Duarte, Nivea Strelow.
Arte Beatriz da Matta, Margarita Torres.
Direção e edição de som Tulio Marcon
Som direto Ana Luísa Mariquito, Tulio Marcon.
Trilha sonora Gerbert Périssé, Tulio Marcon
Produção Gabriel Staiger, Giulia D’Aiuto, Matheus Valadão, Nathalia Fajardo, Thales Ferreira.
Imagens extras Carol Lobo, Maria Duarte, Tulio Marcon.

Labirinta (Labyrinth) is an essay film that revolves around four performances and reflects on the process of making them. It is the result of a body laboratory of the same name that took place between March 2018 and June 2019 at the Instituto de Artes e Comunicação Social (IACS) at UFF. The film seeks to investigate the relationship between body, dance and audiovisual.

2022
Com Lena Kilina e Sofya Chibisguleva

Toasts are an invaluable part of Eastern European and Asian cultures — a moment to address the gathering at a wedding, anniversary, birthday and say something crucially important or wish someone well. This culture is very evident in contemporary Russian politics, specifically, in the style of politician’s addresses to the nation. Russian Toast — is a series of online performances and Vídeos aimed at exposing the absurd, fascist, and discriminatory dialectic of the present Russian officials, including the President (ex. KGB officer), the Patriarch (ex. KGB officer too), and others. The script of performances is almost completely unaltered from its source — notable and even historic addresses of the Russian officials to the nation. The series was born as a response to the Vladimir Putin’s invasion of Ukraine and will continue running until the war is over.

2020
Video, cor e som
1’47’’
Shot and performed in April/May 2020 in Russia and Brazil.

Chthonian Rehab is an anthology of grief and internationalism during COVID-19 Pandemic, following the digital dialogue of the Mainline Group members: Sofya Chibisguleva and Lena Kilina.
The Mainline Group invites you to stick your shovels into the space between the waves of the pandemic and embark on a supermythical trip to analyse the post-COVID condition of distance.

2021-2022
30’
Performance
Concepção e performance Tieta Macau
Auxiliar técnico e produção Abeju Rizzo
Apoio: coleção moraes-barbosa

Sandy floor, some writings, feet that soften the ground… Caboclos calling out. What in passing passes in that which is not seen, between the sound and the spin, takes hold. Rezos (prayers) is one of the tracks in which Tieta (en)crosses the sound|word, from the written to the sung prayer, as an appearance of healing|attack and lexical inversion. Prayers that blow from the spell to the cure… in the speech gesture of what is not seen.

2021
Corpo: Uarê Erremays
Realização Tan Baes
Câmera Jeff G. e Tan Baes
Edição e montagem Haroldo Castro Alves

uarê-mar is a record of the solitude experience of the quarantine. The infinite horizon, the trance induced by the repetition of movements – tides, clouds, moons, the delivery of the human matter to the Greater Waters for the movement of the smaller waters of the body. Impelled by the urgency of the escape as survival to reality, it studies walking backwards, turning, falling: the transmutation of body matter into an offering, surrendered to the fall, as rite and urgency for the end of this world as it was given to us.