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Performances
2016

“Série #7”, de Baillistas (foto: Ênio Cesar)
“Resíduos”, de Alexandre D’Angeli (foto: Jéssica Mangaba)
“Sobre o peso nos meus ombros”, de Karen Cruz (foto: Jéssica Mangaba)
“Filosofia do ralo”, de Cadu Ribeiro (foto: Ênio Cesar)
“Lúmen”, de João Penoni (foto: Jéssica Mangaba)
“Como um jabuti matou uma onça e fez uma gaita de um de seus ossos”, de Renan Marcondes (foto: Jéssica Mangaba)
“Carga”, de Elfie Nitze (foto: Ênio Cesar)
“Série #7”, by Baillistas (photo: Ênio Cesar)
“Resíduos”, by Alexandre D’Angeli (photo: Jéssica Mangaba)
“Sobre o peso nos meus ombros”, by Karen Cruz (photo: Jéssica Mangaba)
“Filosofia do ralo”, by Cadu Ribeiro (photo: Ênio Cesar)
“Lúmen”, by João Penoni (photo: Jéssica Mangaba)
“Como um jabuti matou uma onça e fez uma gaita de um de seus ossos”, by Renan Marcondes (photo: Jéssica Mangaba)
“Carga”, by Elfie Nitze (photo: Ênio Cesar)

The second edition of this project, especially targeted at investigating the body’s role in contemporary art, counts on performers chosen through a selection process open to the public, under the coordination of Centro Universitário Belas Artes. The jury panel is composed of Cauê Alves, curator and PhD in philosophy, and Solange Farkas, curator and director of Associação Cultural Videobrasil. Conducted in partnership with Centro Universitário Belas Artes, it incentivizes the discussion of performance practices and their documentation processes.

Resíduos [Remnants], by Alexandre D’Angeli

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A performance that gives continuity to the research of artist Alexandre D’Angeli regarding the possible interactions between body and space and their remnants/memories in the pursuit of sensitive approximations with architecture and its equipment. The work proposes considering immaterial remnants the result of man’s action in big cities – leftovers of their projects, investments, exchanges and affections.

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Como um jabuti matou uma onça e fez uma gaita de um de seus ossos [How a Tortoise Killed a Jaguar and Made a Harmonica out of Its Bones], by Renan Marcondes

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The performance shows the audience an image of a man’s body subjugated by an object: an orange stiletto, the heel of which is a 30 centimeter rod. Unable to stand and hold an erect position, masculine and dominating, this body transits slowly through the horizontal plane through a choreography that condenses images referent to the objectification of women. Through the transformation of the stiletto and its placement over a male body, the work raises questions regarding the identity of gender and the role of objects in this process.

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Lúmen [Lumen], by João Penoni

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Luminous flux. The artist re-creates its own body. Remakes it. In the dark setting, his movement leaves a trail of light. Colored lights blink from his acrobatic body, which moves suspended by an invisible bar. The clarity is not of the body and is only noticed because on it is reflected, in “Lúmen”, “incorporated”. Through artificial mechanisms, the performer presents an illuminating body. The artist’s live presence is registered in the darkened performance space.

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Carga [Load], by Elfi Nitze

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The performance is based on the idea of mental weight, where there is no awareness of the acts themselves. Born from the concept of the connection between mind and body, it brings to mind that any existing problem in the mind will fall on the body, in the event it is not resolved and vice versa, that is, bodily issues and also act on the mind.

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Sobre o peso nos meus ombros [About the Weight over My Shoulders], by Karen Cruz

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The performance is designed as a performative action in which the artist attaches to her hair, separated into strands, little weights, known as chumbinhos. These weights are used in fishing and are made of lead, since it possesses considerable weight in relation to its volume when compared to other metals. The chumbinhos are attached along the entire length of the strands of the artist’s hair. The weights are attached using rubber bands already been attached to the lead weights. In tests, the artist has used as much as 4 kilos of lead weights, seeking to explore the limits that her body imposes.

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Série #7 [Series #7], by Baillistas

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The performance is based on the production of a photo series with ballerinas, figurines, make-up artists, and the four members of the group working as they do in the middle of the city of São Paulo.

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Filosofia do ralo [Philosophy of the Drain], by Cadu Ribeiro

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Understood as a dance performance, it is a bodily intervention based on Oscar Wilde’s novel “The Picture of Dorian Gray”. Drain-man is the performative figuration of one of the characters in the novel: Basil Howard, the painter obsessed with Dorian, who in this intervention walks/dances in different spaces. Carrying a scenic object created for the performance, a sort of parangolé of drains on his back, the artist moves with this oppressive weight that lends him a corporeity of his own.

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O som do trovão [The Sound of Thunder], by N Jeans

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"O som do trovão", by N Jeans

There are many things that carry a feeling of fear and desperation, and a big storm could be one of them. However, can storms be of different forms in life, or not? We never know when we will be hit by the next one or if we will never be hit by one again… So, is it worthwhile resorting to fear? In a vast valley; light, body, sounds and thunder are confused in the midst of mental daydreams that psychotic minds can, should or shouldn’t have in relation to the path that the line of a life can travel and between its dialogues with the meaning.

Permanência para um encarnado [Permanence for an Incarnated], by Luanna Jimenes

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Consists in the artist remaining for a long time characterized by the attire. The presence that sustains the work is the expansion of breathing with organic dimensions and times, therefore being an expansion/contraction to extreme limits, altering a large figure with a small one next to the floor. The pauses during the presentation allow multiple readings for the observer and interfere in the space silently. The fabric of the black attire embodied and with some shining covers the entire body, mistaking it for an object. The artist moves completely covered with only an eye showing until the place of permanence and then disfigures itself.

É arte ou bala? [Is It Art or Candy?], by Lucas Takahaschi

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The art space reflects its target audience and directly influences the status and value of a piece of artwork, which intrinsically causes the valorization of the artist and induces the consumer to an hermetic system of collectors and their producers. However, what would it be like if this work were simply a candy? And if this artist were simply a salesperson? How would a relationship be established with this consumer already accustomed to the arts circuit?