Fetiche

By ingesting dishes such as feijoada, pamonha, ceviche, or sancocho, the action goes beyond the act of eating. These foods operate as symbols that condense colonial histories, subsistence economies, and cultural resistances. Their flavors, associated with contexts often labeled as “underdeveloped,” are brought into the performative space as materials of tension. The act of eating reveals the paradox between the celebration of these cultures and their simultaneous exoticization and exploitation.

In this way, the performance establishes a mirror between the consumption of marginalized bodies in the sexual imaginary and the material consumption of territories and peoples positioned within structures of global inequality. Latex, as both a material of protection and fetish, intensifies this contradiction: what is hidden is also exposed, what is desired is also disposable.

The black mask, in particular, alludes to processes of appropriation and erasure of narratives. In dialogue with Frantz Fanon’s _Black Skin, White Masks_, the work suggests that a mask is never neutral: it functions as a mediation between desire and violence, imposition and survival. If, for Fanon, the white mask embodies the pressure to conform to a colonial norm, here the black mask exposes the tension of carrying an identity that has been consumed, exoticized, and transformed into fetish.

The performance seeks to strain the boundaries between pleasure, inequality, and resistance, inviting reflection on how the erotic, the economic, and the cultural intertwine in the lived experience of dissident bodies.