Sign up for our newsletters. You can change the settings or unsubscribe at any time.
Thank you for your subscription. We have sent you an e-mail with a confirmation link.
exp. 1
exp. 2
exp. 3
Venue: KW Institute for Contemporary Art
Virginia Borges, born 1980 in São Paulo, BR – lives and works in Berlin, DE
Gil DuOdé, born 1986 in Belo Horizonte, BR – lives and works in Berlin
Virginia de Medeiros, born 1973 in Feira de Santana, BR – lives and works in São Paulo
Trem em Transe [Train in Trance, 2019], exhibited at exp. 2, begins aboard a train, whose journey forks onto the divergent tracks of the spiritual and the mundane. The camera zooms in on a young Black man preaching his gospel of salvation. He was desperate, despondent, and homeless, but now wears a wristwatch and a suit, by the grace of God. Praise the Lord. Sola fide, the doctrine of redemption by faith alone, helped distinguish Lutheran theology from the Catholic Church. But the way Protestant denominations have intensely labored to sever the spiritual from the somatic is hard to square with how this young preacher and his Pentecostal minister act as psychic conduits, channeling Jesus. Others, mostly women, soon join their trance-like state. The train might be heading to Paripe, but its passengers are traveling elsewhere. Able to undo the inwardness of the contemplative self, trance could be described as a social technology. As they reach their destination a bystander asks, “Was this Candomblé?”
Before arriving in Berlin, Virginia de Medeiros set up a constellation to visualize a hidden dynamic. The result yielded three words: africa, territory, and healing. A screening at Forum Brasil led the artist to Ilê Obá Sileké, the sole Candomblé temple of Germany, which welcomed her as abian, the novice “who undertakes a new journey.” Ìyá Agbára [Strength of Mothers, 2020], the film produced for the 11th Berlin Biennale, revolves around the portraits of eight female affiliates of the Ilê Obá Sileké. The work emerged from collective exercises with the temple community, in particular with Virginia Borges and Gil DuOdé, who share authorship with de Medeiros. Shot in 16mm, Ìyá Agbára expands the indexicality of film to include somatic and spiritual registers. White eschatology preaches the gospel of individuated autonomy; Borges, DuOdé, and de Medeiros work in the opposite direction.
Ana Teixeira Pinto
El primer nueva corónica y buen gobierno
Felipe Guamán Poma de Ayala
Chronicle
IV: How Fear Can Dismantle a Body. Vis-a-Vis with two of four curators of the 11th Berlin Biennale
María Berríos, Lisette Lagnado
Conversation
Maternidades subversivas
María Llopis
Monograph
Freiheit für Chile!
Anonymous
Photo album
Grupo Experimental de Cine en acción
Gabriel Peluffo
Drawing
Undocumented Rumours and Disappearing Acts from Chile
María Berríos
Essay
By using this website you agree to the use of cookies in accordance with our data privacy policy.
Venue: KW Institute for Contemporary Art
Virginia Borges, born 1980 in São Paulo, BR – lives and works in Berlin, DE
Gil DuOdé, born 1986 in Belo Horizonte, BR – lives and works in Berlin
Virginia de Medeiros, born 1973 in Feira de Santana, BR – lives and works in São Paulo
Trem em Transe [Train in Trance, 2019], exhibited at exp. 2, begins aboard a train, whose journey forks onto the divergent tracks of the spiritual and the mundane. The camera zooms in on a young Black man preaching his gospel of salvation. He was desperate, despondent, and homeless, but now wears a wristwatch and a suit, by the grace of God. Praise the Lord. Sola fide, the doctrine of redemption by faith alone, helped distinguish Lutheran theology from the Catholic Church. But the way Protestant denominations have intensely labored to sever the spiritual from the somatic is hard to square with how this young preacher and his Pentecostal minister act as psychic conduits, channeling Jesus. Others, mostly women, soon join their trance-like state. The train might be heading to Paripe, but its passengers are traveling elsewhere. Able to undo the inwardness of the contemplative self, trance could be described as a social technology. As they reach their destination a bystander asks, “Was this Candomblé?”
Before arriving in Berlin, Virginia de Medeiros set up a constellation to visualize a hidden dynamic. The result yielded three words: africa, territory, and healing. A screening at Forum Brasil led the artist to Ilê Obá Sileké, the sole Candomblé temple of Germany, which welcomed her as abian, the novice “who undertakes a new journey.” Ìyá Agbára [Strength of Mothers, 2020], the film produced for the 11th Berlin Biennale, revolves around the portraits of eight female affiliates of the Ilê Obá Sileké. The work emerged from collective exercises with the temple community, in particular with Virginia Borges and Gil DuOdé, who share authorship with de Medeiros. Shot in 16mm, Ìyá Agbára expands the indexicality of film to include somatic and spiritual registers. White eschatology preaches the gospel of individuated autonomy; Borges, DuOdé, and de Medeiros work in the opposite direction.
Ana Teixeira Pinto
O Bailado do Deus Morto
Flávio de Carvalho
Play
Solidarity and Storytelling. Rumors against Enclosure
María Berríos
Essay
III: La familia son quiénes se alegran con nuestros actos diarios. Detrás de las curadoras de la XI
María Berríos, Agustín Pérez Rubio
Conversation
COVID-19 VIDEOS
Carlos Motta
Video
„Klaus Eckschen: Hörspiel“
Die Remise
Hörspiel
Fragments of the Artist’s Diary, Berlin 11.2019–1.2020
Virginia de Medeiros
Diary
By using this website you agree to the use of cookies in accordance with our data privacy policy.
Venue: KW Institute for Contemporary Art
Virginia Borges, born 1980 in São Paulo, BR – lives and works in Berlin, DE
Gil DuOdé, born 1986 in Belo Horizonte, BR – lives and works in Berlin
Virginia de Medeiros, born 1973 in Feira de Santana, BR – lives and works in São Paulo
Trem em Transe [Train in Trance, 2019], exhibited at exp. 2, begins aboard a train, whose journey forks onto the divergent tracks of the spiritual and the mundane. The camera zooms in on a young Black man preaching his gospel of salvation. He was desperate, despondent, and homeless, but now wears a wristwatch and a suit, by the grace of God. Praise the Lord. Sola fide, the doctrine of redemption by faith alone, helped distinguish Lutheran theology from the Catholic Church. But the way Protestant denominations have intensely labored to sever the spiritual from the somatic is hard to square with how this young preacher and his Pentecostal minister act as psychic conduits, channeling Jesus. Others, mostly women, soon join their trance-like state. The train might be heading to Paripe, but its passengers are traveling elsewhere. Able to undo the inwardness of the contemplative self, trance could be described as a social technology. As they reach their destination a bystander asks, “Was this Candomblé?”
Before arriving in Berlin, Virginia de Medeiros set up a constellation to visualize a hidden dynamic. The result yielded three words: africa, territory, and healing. A screening at Forum Brasil led the artist to Ilê Obá Sileké, the sole Candomblé temple of Germany, which welcomed her as abian, the novice “who undertakes a new journey.” Ìyá Agbára [Strength of Mothers, 2020], the film produced for the 11th Berlin Biennale, revolves around the portraits of eight female affiliates of the Ilê Obá Sileké. The work emerged from collective exercises with the temple community, in particular with Virginia Borges and Gil DuOdé, who share authorship with de Medeiros. Shot in 16mm, Ìyá Agbára expands the indexicality of film to include somatic and spiritual registers. White eschatology preaches the gospel of individuated autonomy; Borges, DuOdé, and de Medeiros work in the opposite direction.
Ana Teixeira Pinto
Touching Feeling. Affect, Pedagogy, Performativity
Eve Kosofsky Sedgwick
Monograph
Queer Ancient Ways: A Decolonial Exploration
Zairong Xiang
Monograph
IV: How Fear Can Dismantle a Body. Vis-a-Vis with two of four curators of the 11th Berlin Biennale
María Berríos, Lisette Lagnado
Conversation
Solidarity and Storytelling. Rumors against Enclosure
María Berríos
Essay
Teatro da Vertigem
Monograph
El primer nueva corónica y buen gobierno
Felipe Guamán Poma de Ayala
Chronicle
By using this website you agree to the use of cookies in accordance with our data privacy policy.
Venue: KW Institute for Contemporary Art
Virginia Borges, born 1980 in São Paulo, BR – lives and works in Berlin, DE
Gil DuOdé, born 1986 in Belo Horizonte, BR – lives and works in Berlin
Virginia de Medeiros, born 1973 in Feira de Santana, BR – lives and works in São Paulo
Trem em Transe [Train in Trance, 2019], exhibited at exp. 2, begins aboard a train, whose journey forks onto the divergent tracks of the spiritual and the mundane. The camera zooms in on a young Black man preaching his gospel of salvation. He was desperate, despondent, and homeless, but now wears a wristwatch and a suit, by the grace of God. Praise the Lord. Sola fide, the doctrine of redemption by faith alone, helped distinguish Lutheran theology from the Catholic Church. But the way Protestant denominations have intensely labored to sever the spiritual from the somatic is hard to square with how this young preacher and his Pentecostal minister act as psychic conduits, channeling Jesus. Others, mostly women, soon join their trance-like state. The train might be heading to Paripe, but its passengers are traveling elsewhere. Able to undo the inwardness of the contemplative self, trance could be described as a social technology. As they reach their destination a bystander asks, “Was this Candomblé?”
Before arriving in Berlin, Virginia de Medeiros set up a constellation to visualize a hidden dynamic. The result yielded three words: africa, territory, and healing. A screening at Forum Brasil led the artist to Ilê Obá Sileké, the sole Candomblé temple of Germany, which welcomed her as abian, the novice “who undertakes a new journey.” Ìyá Agbára [Strength of Mothers, 2020], the film produced for the 11th Berlin Biennale, revolves around the portraits of eight female affiliates of the Ilê Obá Sileké. The work emerged from collective exercises with the temple community, in particular with Virginia Borges and Gil DuOdé, who share authorship with de Medeiros. Shot in 16mm, Ìyá Agbára expands the indexicality of film to include somatic and spiritual registers. White eschatology preaches the gospel of individuated autonomy; Borges, DuOdé, and de Medeiros work in the opposite direction.
Ana Teixeira Pinto
THE MOBILIZATION
Nicolás Cuello
Text
Hatred Among Us
Lisette Lagnado
Essay
Maternidades subversivas
María Llopis
Monograph
A World Without Bones
Agustín Pérez Rubio
III: La familia son quiénes se alegran con nuestros actos diarios. Detrás de las curadoras de la XI
María Berríos, Agustín Pérez Rubio
Conversation
#fight4rojava
Graffiti
By using this website you agree to the use of cookies in accordance with our data privacy policy.
By using this website you agree to the use of cookies in accordance with our data privacy policy.