Body

In the shadows of this body, the litanies of the saints' festivals resound, the echo of the drums, the murmur of the prayers interrupted by the creaking of the canoes. His skin retains the touch of healers, his bare feet follow the rhythm of the promises paid with candles and ribbons. He carries the weight of invisible ex-votos, of memories dissolved in time.

Corpo Estranho” in english Weird Body, was a performance made in 2012 about : sexuality - specifically sexual abuse - queer theory and erasure of the body both in the social and cultural spheres, specifically mentioning walkers and sexual professionals for their personal experience with these two media.

The serpent, with its renewal and movement between worlds, reflects the trajectory of identities that challenge gender and sexuality norms. Oxumarê, orixá of the rainbow and duality, symbolizes gender fluidity and the constant transformation of these bodies, which balance opposites and resist social impositions. The work celebrates the creative force of transformation, showing how these bodies inhabit movement and transcend symbolic limits.

The devastation of the feminine begins in its vital energy, in search of "power" and it is these relations of power and of absence, that women who have already left, struggling, do, is what this performance speaks about. A circle of fire recalls pagan rituals, but also the burning of women during the Inquisition. Nature, vital energy, ablaze, a female body amidst the circle of fire, wearing social clothing and a sash and crown of Miss, "the place of acceptance of the feminine, not the place where I wanted to be." The saying; "I MISS YOU" and the position in which gods pose in their paintings, figurines, symbols, and in the hand, a vagina-like sore.

For this performance, I counted at least 10 men and the act would be me in the crucifixion position, but without the cross, because it brings us back to the masculine figure and I wanted the female figure to be the center of the action. In this action, I am the mirror and I am willing to suffer this humiliation and I make it possible and a group of men in line must urinate on my feet, one at a time.

_Pudor_ is a video-performance that investigates the mechanisms through which sexuality can be silenced, regulated, and denied within rigid religious contexts. The work centers on the experience of having one’s sexual subjectivity suppressed by a community structured around moral restraint and spiritual dogma.

This is the issue of gender in art (art market and history), specifically the predominance of cisgender men. Based, for example, on the work “The advantages of being a female artist (1988/2017)” by Guerrila Girls, which exhibited at MASP in 2017 and addresses the contrast between the small number of female, non-binary, trans, and queer artists, compared to the large number of nude female bodies in the exhibition of the collection of the Metropolitan Museum of New York (5% and 85% in 1989, 4% and 76% in 2012) and at MASP (6% and 60% in 2017). In the performance, the constant and repetitive act evokes a sexual act in its phallocentric form, symbolizing the persistent cultural dominance of cisgender men in the art world — both historically and within the market. The screen represents the feminine, the queer, and the non-binary; its whiteness suggests an attempted erasure of these identities. The act of tearing through the screen becomes a gesture of ongoing violation, a metaphor for how these bodies and narratives are repeatedly invaded, silenced, or overwritten.

Tenro - Performance - Luiza Prado - YouTube

This performance was based on Voluntary Servitude Discourse of Étienne de La Boétie’s, the name “The Oedipus Drift” is an illustration of Oedipus, a personage of Greek mythology. The performance illustrates a society that, at the same time as it borders on tyranny, transforms itself into it, because it feeds on what kills it, the strings symbolize the act of being unconscious of not wanting freedom, but the strings are falsely imprisoned, symbolizing a lack of argumentative structure “No, the masses have not been deceived, they have longed for fascism at certain times, under certain circumstances, and this is what needs an explanation, this perversity of collective desire.” Reich quoted by Félix Guattari in The Anti Oedipus The live was held at SYNNFEST – Festival of Alternative Arts in São Paulo/Brazil in 2013.

Psychopompus is the word that originates in the Greek psychopompós, junction of psyche (soul) and pompós (guide), designates an entity whose function is to guide or lead the perception of a human being between two or more significant events. Inner guide, the psychopomp can be of human nature, (Ariadne), animal (rabbit, from Alice in Wonderland) or spiritual (Hermes, Daimon). Archetype present in most mythological registers, dreams, films and popular tales, it arises spontaneously and assumes the task of revealing a symbol or guiding meaning, necessary for the continuity of the individual trajectory of those who find it. According to the Critical Dictionary of Jungian Analysis: “The figure who guides the soul on occasions of initiation and transition: a function traditionally attributed to Hermes in the Greek myth, for he, besides messenger of the gods, was the god who accompanied the souls of the dead , being able to transit between polarities (not only death and life, but also night and day, heaven and earth)

In this performance, the artist ingests her own voter registration card. The act transforms a bureaucratic document into organic matter, shifting it from the domain of institutional identity to that of the body.

The performance displaces origin. It inverts. It proposes a nonlinear cycle where the future shapes the past. The capsule becomes a transitional space between the outside world (already saturated, overstimulated) and another time, one of listening, of reconfiguration.

In this video installation in the format of a long vertical strip, a woman and a man, dressed in the water element, slowly sink into the ocean waters until they disappear at the bottom.

About Madness proposes a decolonization of mental health: a study of how vulgarized concepts of madness hardened across human history, and of the emotional, spiritual and sociopolitical layers erased in the process.