Performances
2015

"Psico-retrato", de Tatiana Schmidt (foto: Vinicius Assencio e Pétala Lopes)

"Corpo fechado", de Felipe Vasconcellos (foto: Vinicius Assencio e Pétala Lopes)

"Reconhecer-se", de Mylene Signe (foto: Vinicius Assencio e Pétala Lopes)

"Donas, sete histórias impessoais", de Márcio Moreno (foto: Vinicius Assencio e Pétala Lopes)

"A herança do silêncio", de Anna Leite (foto: Vinicius Assencio e Pétala Lopes)

"Vociferação itinerante", de Victoria Pekny (foto: Vinicius Assencio e Pétala Lopes)

"Psico-retrato", by Tatiana Schmidt (photo: Vinicius Assencio and Pétala Lopes)

"Corpo fechado", by Felipe Vasconcellos (photo: Vinicius Assencio and Pétala Lopes)

"Reconhecer-se", by Mylene Signe (photo: Vinicius Assencio and Pétala Lopes)

"Donas, sete histórias impessoais", by Márcio Moreno (photo: Vinicius Assencio and Pétala Lopes)

"A herança do silêncio", by Anna Leite (photo: Vinicius Assencio and Pétala Lopes)

"Vociferação itinerante", by Victoria Pekny (photo: Vinicius Assencio and Pétala Lopes)

In 2015, SP-Arte launched a new platform dedicated to the performance arts as part of its curated sections. The first edition included performances by Felipe Vasconcellos, Jorge Feitosa, Anna Leite, Luiza Oliveira, Anna Leite, Julia Cavazzini, Felipe Bittencourt, Leonardo Akio, Mylenne Signe and Victoria Pekny throughout the Bienal Pavilion during SP-Arte/2015.

The sector was created in partnership with the Centro Universitário Belas Artes de São Paulo, coordinated by the curator and Doctor in Philosophy, Cauê Alves and curated by Juliana de Moraes (professor at Belas Artes University) and Marcos Gallon (curator of the performance festival, VERBO at Galeria Vermelho).

Check out the photos

Corpo fechado [Closed Body], by Felipe Vasconcellos

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The performer wears clothes covering him entirely with coins, forming a golden and shiny image. The work represents the reification of body and its market value in different areas, such as in fashion and work, as well as in the sale of the aesthetic experience.

Desajuste [Imbalance], by Jorge Feitosa

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The artist wears a black suit, white shirt, tie and sneakers. He walks along the space pulling, with the court tied to his waist, a wooden board 5 centimeters off the floor, on wheels, in which a young woman, wearing a skin-color sweater, lies all curled up on her side. The woman seems to be sleeping, totally passive. The performer is careful so that the young woman does not fall off the cart, sometimes adjusting her along the way. Jorge Feitosa discusses the weight and love of carrying his feminine side.

Diálogos silenciosos [Silent Dialogues], by Anna Leite

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The performer, dressed in a raw cotton dress, performs in an installation composed of a white canvas floor (6 x 10 m),
a clothes line with steel wire, a round wooden table in the center, with silverware and tableware, wicker baskets full of hair and several pots containing honey, molasses and glucose. For hours, the artist combines bunches of hair with the honey/molasses/glucose and hangs the mixtures on the clothesline. Little by little, gravity draws the pieces down towards the floor. The performer’s dress, as well as the floor, the clothesline and silverware get dirty from the materials she is combining, always in simple movements, with her hands.

Donas, sete histórias impessoais [Women, Seven Impersonal Stories], by Márcio Moreno

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Wearing yellow coveralls and carrying a black briefcase, the performer enters the space already built with various niches composed of wooden boxes and objects, as well as a rectangular wooden table in the center. He sits down and turns on the iPod that’s on the table. We hear the recording of a lady talking about an autobiographical event; then, the artist executes an action in the space resembling the lady’s speech, distorting it subtly. Through meticulously rehearsed movements, he repeats the gesture of listening to the recording and executing a similar action until the narrative becomes more and more absurd.

Eu sou você [I Am You], by Merien Rodrigues

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The artist enters the space dressed in transparent pants and blouse, and caring a big closed black umbrella. She stands under a cone hanging from the ceiling, opens the umbrella, holds it over her head and pulls on the fine string hanging from the cone. Sand begins to fall over the umbrella, which the artist spins in circles over her head. The grains accumulate around her body, forming a white circle on the dark flooring. When the sand finishes, the performer walks to the cone in front of her and repeats the same action time and again. At the end, she leaves the space and the installation remains with the circles of sand drawn on the floor.

Feito à mão [Handmade], by Luiza Oliveira

Feito à mão (Luiza Maria Fernandes, 2014)2

The performer carries a huge bunch of knit, made by arms, through the aisles of the Fair, until the arena. She continues knitting until the event ends.

A herança do silêncio [Inheritance of the Silence], by Anna Leite

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The performer wears a big white dress, extending circularly around her body, over which there are several old empty cups. She bends over and pulls the fabric very slowly, until a cup is within her reach. The artist grabs one of the many pots around her and serves coffee into the cup, repeating the same action until the entire dress has been pulled close to her body. The performer then gets up and walks outside the space pulling, with a lot of effort, the dress with all the cups and pots, which break and spill coffee on the floor. In this work, Anna continues her research about female activities
in extinction.

Identidades [Identities], by Julia Cavazzini

On top of a desk there is a typing machine and a lot of papers imitating blank personal ids [rgs]. The performer prepares, on the spot, documents for spectators. All the information is invented according to the artist’s imagination, including some personality traits. The document is then given to the spectator.

Palhaço ergométrico [Ergometric Clown], by Felipe Bittencourt

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The performer, wearing makeup and a clown nose, sits on an exercise bike positioned in the center of the space. He needs to ride the bike until all the makeup comes off from sweating.

Parábola [Parabola], by Leonardo Akio

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The performance object consists of a long iron rod with support for the body. The end of the object is placed in the nook between the wall and the floor, and the performers use the weight of their bodies to bend the iron rod. Placed at waist height, the stretching between the object and legs forms a parabola.

Psico-retrato [Psychoportrait], by Tatiana Schmidt

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The artist sits on a shelf 2 meters high off the floor, earing a black figurine that hides her face and arms. Four legs (filled with foam) come out of her pelvis stretching down towards the floor, becoming tangled with one another. Motionless, her body looks like a doll, except for small breathing movements and posture corrections.

Reconhecer-se [Recognizing Oneself], by Mylene Signe

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The performer enters a space prepared with a wooden chair, a white table, wash bins with water and small bowls with pieces of gauze to make a cast. She undresses, sits down and builds a cast of the front part of her body, from feet to neck. After a few minutes, with subtle movements, she comes undone from the mold of her body, sits on the chair, gets dressed and exits the space, leaving the image of her body in a cast on the chair.

Reflexos – Ensaio sobre o vazio [Reflexes – Study on Emptiness], by Felipe Vasconcellos

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The performer wears clothing made up of small mirrors that also covers his face, hands and feet. He walks slowly through internal and external spaces, buildings and parks, coming very close to bystanders, without ever talking to them. The spectators react in all sorts of ways, from enchantment to disgust, from laughter to aggression.

Vociferação itinerante [Itinerant Outbursts], by Victoria Pekny

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Seated on a chair, the performer dips a fountain pen into her mouth full of India ink and then writes over her face. This movement is repeated numerous times, and her strokes create print stains on the skin surface with parts of words and overlapping lines. The same action is executed dipping the pen in different orifices of the face, such as the nose and ears.