Transsexual and non-binary bodies, like mine, are read by society in an abject, indecent, depraved way. Bodies that only serve to subject and prevaricate. In Dance With Me, I cover my body with honey and leaves of 18k gold, and to the sound of bossa nova and mpb I invite the audience to dance with me, in a gesture of approach and defetichizacao. I play with the jargon “I don't accept you nor covered in gold”, to question the mechanisms of acceptance and rejection of trans and non-binary bodies by normative society. In my work, these mechanisms are the use of beauty and wealth that adorn my body considered abject and reach it to the level of acceptance, or approach by the other, who at the end of the dance takes gold in his hands or in parts of his body that touched mine.
Dance With Me (2018-2019) - Honey, gold leaves, bossa nova and mpb - T: 1 + 1 PA
Collection: Pinacoteca do Estado de São Paulo
On October 6, 2016, at the Arts Building of the Federal University of Rio Grande (FURG) on the occasion of the Ruido event. Gestação Aç ão & Performance 2016 CorpoaCorpo, I proposed a second action of the Campo de Contacto project. I entered the lobby, connected the speaker with arias from Verdi, Mozart and Saint-Saës, wrote a chalk on the wall, sat on the armchair, and was slapped by several people for 16 minutes.
Tapas why do I want you? (2016) - Speaker with classic arias, armchair, chalk and wall with indication - T: 1 + 1 PA
On April 1, 2014, Brazil completed 50 years of civilian and military coup. To rescue the memory of the senses of those years of lead, I submerged my head in a basin of water repeatedly to the point of almost drowning in order to simulate one of the most common types of torture that countless prisoners suffered during the Dictatorship. The drowning happened on the same day at 4 pm in Santa Maria in Rio Grande do Sul, a city strategically positioned during the regime and with the largest number of military barracks in the country.
Drowning (2014) - Aluminum basin with cold water - T: 1 + 1 PA
On August 17, 2014, I proposed to the public the act Campo de ContactoI – 50 years later, which took place in the ruins of the railway station in the city of Santa Maria, in Rio Grande do Sul Visitors were invited to throw glasses of water on my face. This action was a second step in recovering the memory of the lead years. This time, however, there was a catalyst added to the process, namely, the death of 242 young people in a fire that occurred a year earlier.
Contact Field I - 50 years later (2014) - 50 glasses filled with water on a glass table identified with the dates from 1964 to 2014 and a bench - T: 1 + 1 PA
The cry is a criticism, and self-criticism, the lack of civility in contemporary society; and a disgust at the barbaric acts committed by humans around the world.
Barbarians (2015-2018) - Speaker and voice - T: 1 + 1 PA
The history of the 21st century told from its most significant national and global events projected in videomaping on my trans and naked body. The performance is a work in partnership with the VJs of Luz de Pondora.
Despite the Ruins and Death (2019) - Video-maping - T: 2 + 1 PA
Listening Project - Action I: Untitled happened on July 31st, August 1st and 2nd, 2015. From my apartment, in the city of Santa Maria, in Rio Grande do Sul, I made calls to the PERTURBE MMXV performance festival in Curitiba in Paraná. Each visitor to the festival received a card with the address of a website where they should register their phone and email address so that they could receive my calls at any time of the day and night ̃ during the three days of the festival. On the calls, recordings were made on portable k7 of audios from protests held in Brazil since 2013.
Listening Project - Action I (2015) - Business card, phone and email box - T: 1 + 2 PA