Here is a selection of projects I have worked on and am particularly fond of.
For more pictures and information, please refer to the linked .pdf document or to my instagram account :)
.
++ I believe this wave will bear my weight
++ I study to work, I work to study
++ the margins of my limit
++ Apocalipsis entre amigos de Julián Pacomio
++ for lack of a better name
++ eighty
++ that which that you put on me)
++ (gestuary field)
++ Knead-me dearly!
++ Exile Song
I believe this wave will bear my weight
Series of 16 pictures taken by Katja Crevar, 2022. Presented at ladder.space, 2022.
A room gradually filled with blue tape. A space covered, a body covered. Overtaken. Mirror of the blues. Suffocation and virtualization.
the margins of my limit
A durational performance for exhibition spaces and sites of historical relevance. Presented in Kunsthal Charlottenborg at Afgang 2021.
In collaboration with performing artists and research partners Aline Combe, Birgitte Skands, Julie Schmidt, Lene Kreilgaard, Katrien van der Velden, Sanna Blennow, Sara Margrét Ragnarsdóttir, Sophia Mage, Tanya Rydell. Support and provocations from Ruth-Johanne Andersson. Assistance: Anne Sofie Skjold Møller, Sara Vieira Marques. Documentation: Amr Hatem, Anabela Veloso and Frida Gregsen.
Water dripping day by day. A group of performers work from the innards of the museum. The walls are the borders that produce auras, that legitimize or exclude, selecting that which has a right to attention, yours, ours. This is our site of intervention. With our bodies, we invest a vibration in and together and through the walls, we seek a breach. To let go. Make flow. Make move. Make a mess of the aura, with our nuisances. With our in/digestion. What affects and what is affected? What is the weight of structure, a code of conduct? What are our margins for action? Over the course of nine sessions, we practice the deformation and reorganization of bodies through surface to surface, innards to innards contact, insisting in caring/carrying and subtlety/intensity as strategies to move what had been stagnant. To wear the hardest stone away.
Clips
Introduction to the work
I study to work, I work to study
Performance documented by Katja Crevar, 2022. Presented at ladder.space, 2022.
Apocalipsis entre amigos de Julián Pacomio
Performance by Julián Pacomio. I performed as part of a 7-people ensemble at La Capella Barcelona in 2021 and Azkuna Zentroa (Bilbao) in 2022.
For a long time we’ve been going to bed early. We are people of the day, night is someone else’s business. We wait for the apocalypse together, all of us, here. At some point the familiar, the intimate, will become unsettling, and the end will come peacefully, so kind. Something dark will emerge to the surface incriminating life, and nothing will be the same; memories, those of passed times, will no longer matter; only the strongest ones will, that is, those of now. We will never be contemporary again and only daylight will remain, as simple as that.
or
[…] this doesn’t make sense but the rest doesn’t make sense but the rest is death.
eighty
Presented at Kunstakademiet's Rundgang 2019.
In April 2019, Evaldo Rosa dos Santos was murdered by Rio de Janeiro’s military police. He was riding leisurely with his family when the vehicle was pierced by over 80 bullets. The amount of shots gained the headlines. Here eight key-numbers involved in the crime are cherry-picked from news portals and transposed into a language of materials. The shots fired become 83 popped ballons, the bulletholes found in the victim’s car 62 chalk circles, the law that protected the accused officers 13.491 holes in a sheet of paper. These materials allude to the formal aspects of the violent murder. Sound through ballons, pierced flesh through grapes, fire through cigarette ashes etc.
that which that you put on me
40' performance with dancers Paolo Gile, LÃvia Esposito, Alice Presencer and Christina Gleason. Presented at Kunstakademiet's Gallery Q, 2019.
In a unity, the dancers note and write their observations about, and on, each other’s bodies. The movement is continuous. From senses to pre-concepts to words to movement to surfaces. Relationships may seem immaterial, but can be decoded into series of actions where words may intervene. Can verbal language physically change matter? Here, writing descriptions is used as the source of all movement.
for lack of a better name
Writing installation. Acrylic paint, plastic film wrapping. Variable dimensions. Presented at Bladr (2020) and Kunstakademiet's Gallery Q (2019).
Text on soft plastic describes and fabulates the properties of the skin, written with paint mixed to match the artist’s own skin color. The second version of the work was shown at Bladr, where it was installed wrapping across the walls and windows of the space.
Exile Song
40' solo, presented at Kunstakademiet's Rundgang 2021.
What does my land there have that here I cannot find? What makes this land mine? When I step in, which sea do I dissolve in?
A performance for the expat citizen, the questioning patriot, and all who seek ground in shifting sands.
Exile Song is composed through the national symbols of Brazil and Denmark, the rustling sounds of a paper sea, drumming, singing and improvisation.
Knead-me dearly!
Knead-me dearly! is a self-massage workshop. I share movement principles used in my performative actions to a wider audience.
In this practice, we focus on interacting with skin, flesh and bones from a principle of deformation beyond quotidian movement. Do not mistake this for a relaxing massage: the aim is to re-invent ways to be with and within, touching and digging into ourselves as a connected whole.
We are used to the idea that the changes we wish to see in society must first take place within. Change yourself to change the world. Yet, it is challenging, troubling even, to question our own boundaries, identities and positions. Here we open spaces to carefully but intently engage with our own fibers and structures.
(gestuary field)
60' performance for public space. First presented at Praça das Artes (São Paulo), 2016.
In a delimited space, a performer uses masking tape to produce drawings, while a second performer translates those markings into movement. The roles are dissolved and tape is offered to the public, opening up the space for playfulness, meetings and sensible exercises between body and trace. The project counted four presentations and a workshop. (gestuary field) first took place in the opening of the exhibition Do Traço ao Palco, at Praça das Artes, in São Paulo.