marina
dubia
hej olá hello. marina here!I'm an artist and choreographer who creates frameworks to cultivate vitality, criticality and enthusiasm; aiming to find artistic, discursive, and performative tools to practice (the) together.Through the close proximity of performance and conversation or the leaking presence of writing, publications and installations, my works hosts approaches to violence, vitality, intimacy and their mutual translations.As a facilitator, I emphasize conviviality and improvisation with close attention to context and circunstance, often in direct engagement with audiences.Since 2018 I have lived 52 months in Copenhagen (my base), 20 months in São Paulo (my hometown), 16 months in Montpellier, 9 months in Lisbon and 8 months on the road;
making fugitive homes of the relations in each context.
upcoming 2026
August --- collaboration with Oscar de Lyons for Tarnby Park Festival, Copenhagen;
September --- collective exhibition at TITLED, Copenhagen;
October --- duo exhibition with Ayesha Ghaoul, Largo das Artes, Rio de Janeiro.
featured
TODATRIPATREMELUZ
# group work, 60'
# 2026 - ongoing
The black box gathers, movement gathers, warmth gathers, warm bodies gather. Within the intimacy of this space, we offer a study of the vitality cursing within, spilling out into the fabric of our ephemeral collective. Performers, audience members and stage lights work through states of proximity and distance, inviting or intimidating; a dynamic circulation of energy that agitates matter. By creating parallels between the organism of the theatre and the human organizations (biological, social), TODATRIPATREMELUZ proposes a relational and sensorial immersion through a series of life-affirming practices.
Implication Studies Ch.II: damage /restraint /overflow
# hybrid installation + performance trio, 45'
# 2025 - ongoing
Can you describe this image? A black mass, turning heads, people? What are they doing? Have you been there? A party, a ship, a dinner, a protest? Implication Studies Ch.II: damage/restraint/overflow would like to ask you a few questions. About violence and being in the world. About value systems. About feeling paralyzed and insisting. About enjoying the struggle. What energizes you? A discussion or a scream?
Desabar to Collapse
# 5 peroformers, 60'
# 2023 - 2025
Bones collapse, affections shatter, relations overflow. On the violence that excavates and holds this everyday screech, me-me-and-you-and-me? Make way, brace, pace, train your/self, give it up: is together still within reach? Desabar to Collapse is a lively dance of destruction and restoration, of agency and boundaries, of re-claiming liveliness in the distorted carnival of life.
betraying gestures by Vinícius maffei
# newsletter
# 2024 - 2025
Vinícius invited me to parasitise his newsletter. Or did I invite myself? Me, Vini, of course, was confused for the author of these texts. Which was very fun. At the time I was living together with Marina, and she wrote 8 editions of Betraying Gestures. Can you tell whicgh are they?
performance &
choreography
TODATRIPATREMELUZ
# group work, 60'
# 2026 - ongoing
The black box gathers, movement gathers, warmth gathers, warm bodies gather. Within the intimacy of this space, we offer a study of the vitality cursing within, spilling out into the fabric of our ephemeral collective. Performers, audience members and stage lights work through states of proximity and distance, inviting or intimidating; a dynamic circulation of energy that agitates matter. By creating parallels between the organism of the theatre and the human organizations (biological, social), TODATRIPATREMELUZ proposes a relational and sensorial immersion through a series of life-affirming practices.
Implication Studies Ch.II: damage /restraint /overflow
# hybrid installation + performance trio, 45'
# 2025 - ongoing
Can you describe this image? A black mass, turning heads, people? What are they doing? Have you been there? A party, a ship, a dinner, a protest? Implication Studies Ch.II: damage/restraint/overflow would like to ask you a few questions. About violence and being in the world. About value systems. About feeling paralyzed and insisting. About enjoying the struggle. What energizes you? A discussion or a scream?
Desabar to Collapse
# 5 peroformers, 60'
# 2023 - 2025
Bones collapse, affections shatter, relations overflow. On the violence that excavates and holds this everyday screech, me-me-and-you-and-me? Make way, brace, pace, train your/self, give it up: is together still within reach? Desabar to Collapse is a lively dance of destruction and restoration, of agency and boundaries, of re-claiming liveliness in the distorted carnival of life.
Viscous Matter
# performance-installation duo with live music, 45'
# 2024
Marina Dubia and PJ Fossum remix their skillsets along the viscous streams that nourish our being. Thanks to contact mics, stethoscopes and transducers, physical processes become soundscapes through improvisation and play. Staging different approaches to access intimacy and vitality within ourselves and each-other, we invite guests to take part in shared pulses and beats.
Implication Studies
# solo performance, 30'
# 2023 - 2024
I call “study of implications“ a thinking together with images, a sketch of relationships between “how did I get here” and “what do I do with that?”. The alternative title makes this a suspicious work: in Brazil, we say slavery was abolished “for englishmen to see“: that is, only on paper.
Desabar to Fall Over
# 5 performers, 60'
# 2023
Confetti made from images of media coverage on episodes of violence in Denmark and abroad, thrown by performers in the public space. Anger and disgust into joy and strength and back again: can we breach emotional burden and vibrate into another togetherness?
the margins of my limit
# durational group work, 120'+
# 2021
Performers caress, vibrate and push the walls. They attempt to infiltrate the structure, as if their atoms could mix. The approximation between - people, architecture, institutions - creates the opportunity for a kiss. Saliva marks the walls, accumulates. Caring/carrying and subtlety/intensity are our strategies to question boundaries; make move what had been stagnant.
performing for other artists
Apocalipsis entre amigos [...]
# group performance
# 2021-2022
by Julián Pacomio
Llevamos mucho tiempo acostándonos temprano. Somos gentes del día, la noche, es cosa de otros. Esperamos al apocalipsis juntos, todos, aquí. En algún momento lo familiar, lo íntimo, se tornará inquietante y el fin, llegará apacible, amable.Algo oscuro emergerá a la superficie acusando la vida, y ya nada será igual; los recuerdos, los de entonces, ya no importarán; y solo servirán los más fuertes, es decir, los de ahora. Nunca más seremos contemporáneos y solo quedará la luz del día, simplemente.o[…] es que esto no tiene sentido pero lo demás no tiene sentido pero lo demás es la muerte.
marina
dubia
Marina dances writings on the body, the stage, and the page. Dosing physical and emotional intensity, she choreographs states of shared presence that facilitate meetings with violence, intimacy and joy.Marina studied at Carla Zaccagnini's School of Conceptual and Contextual Practices at the Royal Danish Academy of Fine Arts in Copenhagen, and was part of PACAP 4 at Fórum Dança (Lisbon). In 2023, she was an artist-in-residence at Fonte and Pivô Pesquisa (São Paulo), and worked with O-Overgaden (Copenhagen) on the group piece Desabar To Fall Over, which was later featured as Desabar To Collaspe in January 2025 at Det Frie Felts Festival (Aarhus).That same year, she was a resident at CAPACETE (Rio de Janeiro), and the question "what would you like to destroy?" has led her to the creation of the hybrid performance-installation trio Implication Sudies Ch. II: damage/restraint/overflow.In July 2026, she completed masters exerce in choreographic studies at ICI-CCN/Agora Danse (Montpellier) with her first black box group piece, TODATRIPATREMELUZ, in collaboration with light designer Santiago Tricot (UY/PT) and a group of volunteer performers.Marina's trajectory is marked by oscillations and cross-overs between artistic languages and territories. She operates these polarities by creating conceptual and methodological frameworks, always with an improvisational, low-tech approach sensitive to context.
| Year | Programme | Institution | City |
|---|---|---|---|
| 2024-2026 | exerce masters for choreographic studies | ICI-CCN/Agora Danse | Montpellier, France |
| 2018-2021 | Conceptual and Contextual Practices MFA | Royal Danish Academy of Fine Arts | Copenhagen, Denmark |
| 2020 | PACAP 4 | Fórum Dança | Lisbon, Portugal |
| 2010-2016 | Visual Arts Bachelor | University of São Paulo | São Paulo, Brasil |
| Year | Activity | Project | City | Link |
|---|---|---|---|---|
| 2026 | exhibition | UNTITLED VIDEO INSTALLATION at Fractured Horizon, TITLED | Copenhagen | [x] |
| 2026 | performance | TODATRIPATREMELUZ at Exerce Publications 24/26, Agora Danse | Montpellier | [x] |
| 2025 | residency | C*ntsCollective ICoDaCo Residency at Holstebro Dansekompagni | Holstebro | [x] |
| 2025 | exhibition | Lado B | Rio de Janeiro | [x] |
| 2025 | exhibition | política da boa vizinhança at bar CAPACETE/xow.rumi | Rio de Janeiro | [x] |
| 2025 | exhibition | this wave will bear my weight at nesse vão breu onde nossos sonhos se encontram e dançam juntos, Centro Cultural dos Correios | Rio de Janeiro | [x] |
| 2025 | residency | CAPACETE | Rio de Janeiro | [x] |
| 2025 | performance | Implication Studies Chapter. II: damage/restraint/overflow at Intimacy & Publicness, 68th Art Institute | Copenhagen | [x] |
| 2025 | performance | Implication Studies Chapter. II: damage/restraint/overflow at Exerce Publications M1 24/26, ICI-CCN | Montpellier | [x] |
| 2025 | performance | Desabar to Collapse at Det Frie Felts Festival, Godsbanen | Aarhus | [x] |
| 2025 | residency | Desabar to Collapse at Fórum Dança, Culture Moves Europe | Lisbon | [x] |
| 2024 | residency | to make move what had been stagnant at HAUT / Beyond Conventions, Teater Zeppelin | Copenhagen | [x] |
| 2024 | performance | Implication Studies at Tårnby Park Performance Festival | Tårnby | [x] |
| 2024 | installation | label work at Søby Skulpturbiennale, Ærø Kunsthojskølen | Søby | [x] |
| 2024 | performance | Implication Studies at INACT Festival des Arts Mutants | Strasbourg | [x] |
| 2024 | performance | Viscous Matter at Primi Studio Sessions | Copenhagen | [x] |
| 2023 | residency | Pororoca no Mirante | Igatu | [x] |
| 2023 | residency | Pivô Pesquisa | São Paulo | |
| 2023 | exhibition | Here. In this place. at Christianhavns Bibliotekt | Copenhagen | [x] |
| 2023 | workshop | Here. In this place. at O-Overgaden | Copenhagen | [x] |
| 2023 | performance | Desabar to Fall Over at O-Overgaden | Copenhagen | [x] |
| 2023 | exhibition | a sound that hurts and lashes at Fauna & Flora by Ariel Feminisms, Daghammerskjold Allé 42 | Copenhagen | [x] |
| 2023 | residency | (be)longing | Moss | [x] |
| 2023 | residency | LAVA at Fonte | São Paulo | [x] |
| 2022 | installation | The Voice of my Own Echo at O-Overgaden | Copenhagen | [x] |
| 2022 | exhibition | Glitched Belongings at Ladder Space | Copenhagen | [x] |
| 2022 | exhibition | arriscame at M100 | Odense | [x] |
| 2021 | exhibition | this bridge will get us there at Archive | Berlin | [x] |
| 2021 | performance | perto remix at Kunsthal Dahlem | Berlin | [x] |
| 2021 | award | Pol Erich Beck's Kunstprizer | Copenhagen | [x] |
| 2021 | performance | the margins of my limit at Afgang 2021, Kunsthal Charlottenborg | Copenhagen | [x] |
implication
works
What violence do you feel responsible for?
What violence do you feel affected by?Unfolding since 2023, this series of performances, installations, publications and research materials attempt to elaborate means of relating to these questions, sometimes connecting my personal narrative to historical and social forces, sometimes digging together in conversation with performers, audiences and institutions.Naruhodo's Altay de Souza remarks: "All of us, by definition, are violent, most of the time without noticing it. From the moment we realize, become conscious, of our structures of power, class, physical, etc., you start to notice certain violent relations that you didn't notice before. Then violence imposes itself.Implications; in other words, the ways we are enmeshed with and produce our context.If violence can be understood as an accumulation of energy that transgresses boundaries when not consciously directed, I'd like to find discursive and performative diversions towards a kind of joyful perversity: celebrating not despite disgrace, but with disgrace. Because of disgrace.
the book of implications
# publication
# 2025 - ongoing
A hybrid essay and analysis chronicling the references, circunstances, background mythologies and gut feelings that generated the Desabar To Collapse and Implications Ch.II performances, originally written as a reflection on my practice after the first year of masters exerce.
Implication Studies Ch.II: damage /restraint /overflow
Can you describe this image? A black mass, turning heads, people? What are they doing? Have you been there? A party, a ship, a dinner, a protest? Implication Studies Ch.II: damage/restraint/overflow would like to ask you a few questions. About violence and being in the world. About value systems. About feeling paralyzed and insisting. About enjoying the struggle. What energizes you? A discussion or a scream?
Desabar to Collapse
# 5 peroformers, 60'
# 2023 - 2025
Bones collapse, affections shatter, relations overflow. On the violence that excavates and holds this everyday screech, me-me-and-you-and-me? Make way, brace, pace, train your/self, give it up: is together still within reach? Desabar to Collapse is a lively dance of destruction and restoration, of agency and boundaries, of re-claiming liveliness in the distorted carnival of life.
Implication Studies
# solo performance, 30'
# 2023 - 2024
I call “study of implications“ a thinking together with images, a sketch of relationships between “how did I get here” and “what do I do with that?”. The alternative title makes this a suspicious work: in Brazil, we say slavery was abolished “for englishmen to see“: that is, only on paper.
what have I got to do with this?
# publication
# 2023
“Parda“ in Brazil, coming to Europe meant adapting to a distinct racial debate . Can “person of color“ address interracial experiences? Where is this blackness I’m supposed to have? This publication combines archival material with collage, writing and notes from conversations with black and mixed race friends and family.
Desabar to Fall Over
# 5 performers, 60'
# 2023
Confetti made from images of media coverage on episodes of violence in Denmark and abroad, thrown by performers in the public space. Anger and disgust into joy and strength and back again: can we breach emotional burden and vibrate into another togetherness?
a sound that hurts and lashes
# installation
# 2023
How does violence constitute us? Invited by ARIEL Feminisms, I could re-model danish living standards in a "grand bourgeoise" apartment setting, with a knife-twist: walls, furniture, doors and windows burst with confetti, custom-made from images of violence propragated by the media. Is violence an external, invasive force? Or a spilling from within?
take, throw, cleanse
# installation
# 2023
The “poems" inside these little bags tell you the confetti inside is no ordinary matter. Custom-made from violent imagery depicting climate catastrophe, state violence, and brute force, you can take a handful in exchange for your name. What are you responsible for in the grand scheme of global relations?
sparring &
collaborations
I enjoy supporting artistic development processes through listening, sparring and organizing conceptual frames, with a methodological focus on translating ideas into tangible materials (notation, documentation and scoring).These organizational skills extend to scheduling, budgeting and communication tasks, where I leverage my experience as a a copywriter and translators for all materials of an artistic project (from descriptions and social media posts to funding applications and academic analyses).I'd like to further develop my skills teaching, producing and in the role of dramaturg / outside eye. Know of an opportunity? Please contact me :)I'm also available as a performer for projects that prioritize somatic practices, improvisation and voicing / speaking skills over technical dancing;and as a designer for books and prints both digital and handmade. For my editorial projects, check [here]().
research and production credits
Logistic and scenographic support for Daniel Pizamiglio
Discussing notation strategies
Painting banners for the scene
Stage get-in & get-out support
Event dramaturgy with Oscar de Lyons
Coordination acros artistic project teams
Brainstorming scenographic solutions
Hosting guests
Sparring with Andreas Haglung for his work-in-progress REALLY
Organization of project materials
Dialogue partner for sharpening intent and focus
Studio partner for movement experiments
material
works
Here I will upload documentation of my non-choreographic and performance works. Give me another couple of weeks though --- Ooops!In the meanwhile, vou can find my .pdf portfolio below.
TODATRIPATREMELUZ
synopsis
# group choreography for 5 to 10 performers, 60'
# performers can be professionals or enthusiats (via open call)
# black box piece; adaptations for alternative venues possible provided techinical residency time
# 2026 - ongoing
The black box gathers, movement gathers, warmth gathers, warm bodies gather. Within the intimacy of this space, we offer a study of the vitality cursing within, spilling out into the fabric of our ephemeral collective. Performers, audience members and stage lights work through states of proximity and distance, inviting or intimidating; a dynamic circulation of energy that agitates matter. By creating parallels between the organism of the theatre and the human organizations (biological, social), TODATRIPATREMELUZ proposes a relational and sensorial immersion through a series of life-affirming practices.
description
It started from a kind of internal massage. I wanted to find all of my boundaries, rub muscles and bones and agitate my organs, feel where my lungs cushion my heart and my liver slides against my diaphragm. Folded against myself close to the floor, this movement gained momentum until my spine unfurled and I started to spin on my toes and knees throwing up arms; fingers flicking the air over and again as the voice sprouted.It felt full, ardent; tiring and energizing at once.
I called it “fire”.If I find energy, intensity and joy in my movement, how can I spread it to other bodies? How can the intimate space of one’s body be shared?And how can the black box be used to support that process?
From digestive heat to the fire of the heart, TODATRIPATREMELUZ (in English, “all guts flicker”) is a dynamic group work that studies how vitality ignites and spreads among bodies, assuming the tension created in shared intimacy as the material to be worked on.Evoking parallels between physiologic, choreographic and societal organisations, it operates through a rotation of practices --- listening to organs, somatic improvisation, energetic dancing and collective chanting --- which gather performers and audience in a relational and sensorial immersion.TODATRIPATREMELUZ is Marina Dubia’s graduation work for masters exerce in choreographic studies at ICI-CCN/Agora Danse (Montpellier, FR). It features a fully realized light design by Santiago Tricot (UY/PT). The performing team is re-assembled for each set of presentations according from a combination of invited professional performers and movement enthusiasts selected via open call.
credits
Montpellier Team 2026Conception: Marina Dubia
Light design: Santiago Tricot
Performers: Célia Morel, Felipe Heredia, Daniel Pizamiglio, Nina Flores, Carlota Guerra, léone k. Salinas Muñiz and Lou Lhuillier.
Artistic mentoring: Katerina Anderou, Volmir Cordeiro and Jocelyn Cottencin.
exerce team: Nolwen, Maya, Angèle & captain Lisa.Studio research: Holstebro Danskompagni (Carley Lund, Oksana Maslechko, Sille Jensby, Albert W. Buchreitz), CuntsCollective (Tone, Yousef and Rezmorah), exerce M2 24/26 (Mel, Misty, Marcella, Lilla, Rennan and Aryan), LAB-L (Anat, Mariana, Marion and Julia B.).
Dramaturgical support: Daniel Pizamiglio and Sara Vieira Marques.
Physical preparation support: Mariana Taques and Mareu Machado.AcknowledgementsMy gratitude and appreciation for the groups I’ve had adventures in and with; Mel, Misty, Marcella, Lilla, Rennan and Aryan; Mariana, Daniel, Suhwa, Bobby, Nora, Abibou, Kim and Chi; Vinícius, Susana and Anabela; Tone, Yousef and Rezmorah; Ayesha, Oscar and Kajsa; the Desabar team; xow.rumi & CAPACETE; Vera Lúcia, Amaurilo, & Sueli.I would also like to thank Grupo Vão, Marcelo Evelin, Moriah Evans, fieldworks, Adriana Grechi and Luara Raio, the choreographers whose works have paved the way.
Implication Studies Chapter II:
damage /restraint /overflow
synopsis
# performance-installation for three performers, one shredder and a printing machine, 45'
# adaptable to any indoor spaces
# 2025 - ongoing
Can you describe this image? A black mass, turning heads, people? What are they doing? Have you been there? A party, a ship, a dinner, a protest? Implication Studies Ch.II: damage/restraint/overflow would like to ask you a few questions. About violence and being in the world. About value systems. About feeling paralyzed and insisting. About enjoying the struggle. What energizes you? A discussion or a scream?
description
Implication Studies Ch. II is a crossover remix of two previous works, the original Implication Studies (2023) and the group piece Desabar To Collapse (2025). It is organized as a sequence of self-contained situations that engage with violence as a pervasive force in everyday experience, framed by an original noise soundtrack by Laurent Rodz.Audiences are first met by a shredding machine fed by a long scroll of images, sourced from news media and personal archives. Its destructive movement, pulling and eating the paper away, is interrupted by the approach of performers, whose forward trajectories are resisted by an unseen force. Loud and relentless, the matching soundtrack remixes the machine's sounds into a noise composition, and as it fades out, the performers gather guests in a circle, where, in conversation, they are invited to describe the images and actively choose whether they should be destroyed or not.Bathing in the resulting confetti, performers start a play-fight that ends in the embodiment of Manet's seminal 1863 painting "Olympia" --- a reminder that what passes as perversity and violence for some can be the empowerment and liberation of others.Originally imagined for the entrance hall of Agora Danse (former ICI-CCN, Montpellier), this is a shapeshifting performance that can be adapted to several types of settings, including the black box; but enjoys parasitising social spaces. In the linked video below, it is presented as a solo supported by two secondary performers. Since then, their roles have been expanded and the work is considered a trio.This is the latest in a series of works proposed by Dubia's performative research on the perception and responses to violence and its representation, the Implication Works. She invites audiences to adjust the parameters of where violence is located, re-directing numbness and avoidance toward a more open and vibrant reckoning with this force both destructive and vital. Each scene of the work proposes a distinct mode of attention, and guests can expect to experience confrontation, contemplation and conversation.This project was born from the desire to stage materials produced for Desabar To Collapse that never left the rehearsal room, with emphasis in the process of confetti production and the selection and discussion of the so-called "images of violence". ´Performers use shared physical principles of intimidation and posturing/image generation with the confetti, while adding scenes with new movement materials: restricted bodies traversing space, a "caressing fight", and the embodiment and distortion from inside of a historical painting. We play at the limit of violence without falling into the "damage" zone: our goal is to put a spotlight on how different emotional and energetic states can bridge that which we fear to the experience of being alive.
credits
technical needs
pivô residency
# residency
# 2023
Originally proposed as a long-form essay detailing