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Venue: KW Institute for Contemporary Art
Was also part of: exp. 1
Founded 1992 in São Paulo, BR – live and work in São Paulo
Antônio Araújo, born in Uberaba, Minas Gerais, BR
Renato Bolelli Rebouças, born in São Paulo
Guilherme Bonfanti, born in Leme, São Paulo
Rachel Brumana, born in Juiz de Fora, BR
Antonio Duran, born in São Paulo
Eliana Monteiro, born in São Paulo
Nuno Ramos, born in São Paulo
Eryk Rocha, born in Brasília, BR
Erico Theobaldo, born in São Paulo
Tuesday August 4, 2020, 9:30 pm: A funerary procession of around 120 cars tries to push its way through Paulista Avenue, a frequent stage for demonstrations in the financial center of São Paulo, in reverse gear for the nearly seven-kilometer trajectory towards Consolação Cemetery. Teatro da Vertigem’s Marcha à ré [Reverse Gear] is a performance developed with artist Nuno Ramos and filmed by Eryk Rocha. The piece addresses the necropolitics of the far-right populist regime in Brazil, currently engaged in a genocide of its own population.
The piece was conceived in response to works by Flávio de Carvalho. The first is Série Trágica [Tragic Series], a striking series of drawings portraying the mother of the artist in her deathbed. In the context of the Covid-19 pandemic, her agony represents the right to mourn the thousands of deaths ignored by the government’s authoritarian and negligent response to the health crisis. The second is Experiência no.2, realizada sobre uma procissão de Corpus Christi [Experience no.2, realized on a Corpus Christi procession, 1931], where Carvalho tried to study the reaction of the crowd as he walked in the opposite direction to the worshippers. Due to the Covid-19 pandemic, Teatro da Vertigem’s original plans to come to Berlin and perform a new piece, titled Teologias da Prosperidade [Theologies of Prosperity] unfortunately had to be cancelled.
Teatro da Vertigem is a theater group whose trajectory began with their Biblical trilogy—O Paraíso Perdido [The Lost Paradise, 1992], O Livro de Jó [The Book of Job, 1995] and Apocalypse 1,11 (2000). Their plays and performances avoid conventional stages and opt instead for urban landscapes (streets, rivers) and buildings (churches, hospitals, prisons) inhabited by imponderable elements.
Lisette Lagnado
Queer Ancient Ways: A Decolonial Exploration
Zairong Xiang
Monograph
Being in Crisis together – Einander in Krisen begegnen
Feminist Health Care Research Group (Inga Zimprich/Julia Bonn)
Online workshop
Maternidades subversivas
María Llopis
Monograph
Feminist Health Care Research Group
Web archive
A World Without Bones
Agustín Pérez Rubio
#fight4rojava
Graffiti
By using this website you agree to the use of cookies in accordance with our data privacy policy.
Venue: KW Institute for Contemporary Art
Was also part of: exp. 1
Founded 1992 in São Paulo, BR – live and work in São Paulo
Antônio Araújo, born in Uberaba, Minas Gerais, BR
Renato Bolelli Rebouças, born in São Paulo
Guilherme Bonfanti, born in Leme, São Paulo
Rachel Brumana, born in Juiz de Fora, BR
Antonio Duran, born in São Paulo
Eliana Monteiro, born in São Paulo
Nuno Ramos, born in São Paulo
Eryk Rocha, born in Brasília, BR
Erico Theobaldo, born in São Paulo
Tuesday August 4, 2020, 9:30 pm: A funerary procession of around 120 cars tries to push its way through Paulista Avenue, a frequent stage for demonstrations in the financial center of São Paulo, in reverse gear for the nearly seven-kilometer trajectory towards Consolação Cemetery. Teatro da Vertigem’s Marcha à ré [Reverse Gear] is a performance developed with artist Nuno Ramos and filmed by Eryk Rocha. The piece addresses the necropolitics of the far-right populist regime in Brazil, currently engaged in a genocide of its own population.
The piece was conceived in response to works by Flávio de Carvalho. The first is Série Trágica [Tragic Series], a striking series of drawings portraying the mother of the artist in her deathbed. In the context of the Covid-19 pandemic, her agony represents the right to mourn the thousands of deaths ignored by the government’s authoritarian and negligent response to the health crisis. The second is Experiência no.2, realizada sobre uma procissão de Corpus Christi [Experience no.2, realized on a Corpus Christi procession, 1931], where Carvalho tried to study the reaction of the crowd as he walked in the opposite direction to the worshippers. Due to the Covid-19 pandemic, Teatro da Vertigem’s original plans to come to Berlin and perform a new piece, titled Teologias da Prosperidade [Theologies of Prosperity] unfortunately had to be cancelled.
Teatro da Vertigem is a theater group whose trajectory began with their Biblical trilogy—O Paraíso Perdido [The Lost Paradise, 1992], O Livro de Jó [The Book of Job, 1995] and Apocalypse 1,11 (2000). Their plays and performances avoid conventional stages and opt instead for urban landscapes (streets, rivers) and buildings (churches, hospitals, prisons) inhabited by imponderable elements.
Lisette Lagnado
Expresiones de la locura: el arte de los enfermos mentales
Hans Prinzhorn
Monograph
Fragments of the Artist’s Diary, Berlin 11.2019–1.2020
Virginia de Medeiros
Diary
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
I: Junto a las curadoras de la XI Berlin Biennale for Contemporary Art
Renata Cervetto, Lisette Lagnado
Conversation
O Bailado do Deus Morto
Flávio de Carvalho
Play
Umbilical Cord Amulet
McCord Museum
Object
By using this website you agree to the use of cookies in accordance with our data privacy policy.
Venue: KW Institute for Contemporary Art
Was also part of: exp. 1
Founded 1992 in São Paulo, BR – live and work in São Paulo
Antônio Araújo, born in Uberaba, Minas Gerais, BR
Renato Bolelli Rebouças, born in São Paulo
Guilherme Bonfanti, born in Leme, São Paulo
Rachel Brumana, born in Juiz de Fora, BR
Antonio Duran, born in São Paulo
Eliana Monteiro, born in São Paulo
Nuno Ramos, born in São Paulo
Eryk Rocha, born in Brasília, BR
Erico Theobaldo, born in São Paulo
Tuesday August 4, 2020, 9:30 pm: A funerary procession of around 120 cars tries to push its way through Paulista Avenue, a frequent stage for demonstrations in the financial center of São Paulo, in reverse gear for the nearly seven-kilometer trajectory towards Consolação Cemetery. Teatro da Vertigem’s Marcha à ré [Reverse Gear] is a performance developed with artist Nuno Ramos and filmed by Eryk Rocha. The piece addresses the necropolitics of the far-right populist regime in Brazil, currently engaged in a genocide of its own population.
The piece was conceived in response to works by Flávio de Carvalho. The first is Série Trágica [Tragic Series], a striking series of drawings portraying the mother of the artist in her deathbed. In the context of the Covid-19 pandemic, her agony represents the right to mourn the thousands of deaths ignored by the government’s authoritarian and negligent response to the health crisis. The second is Experiência no.2, realizada sobre uma procissão de Corpus Christi [Experience no.2, realized on a Corpus Christi procession, 1931], where Carvalho tried to study the reaction of the crowd as he walked in the opposite direction to the worshippers. Due to the Covid-19 pandemic, Teatro da Vertigem’s original plans to come to Berlin and perform a new piece, titled Teologias da Prosperidade [Theologies of Prosperity] unfortunately had to be cancelled.
Teatro da Vertigem is a theater group whose trajectory began with their Biblical trilogy—O Paraíso Perdido [The Lost Paradise, 1992], O Livro de Jó [The Book of Job, 1995] and Apocalypse 1,11 (2000). Their plays and performances avoid conventional stages and opt instead for urban landscapes (streets, rivers) and buildings (churches, hospitals, prisons) inhabited by imponderable elements.
Lisette Lagnado
Memorial to the Sinti and Roma Victims of National Socialism
Dani Karavan
Memorial
Feminist Health Care Research Group
Web archive
Solidarity and Storytelling. Rumors against Enclosure
María Berríos
Essay
COVID-19 VIDEOS
Carlos Motta
Video
O Bailado do Deus Morto
Flávio de Carvalho
Play
Freiheit für Chile!
Anonymous
Photo album
By using this website you agree to the use of cookies in accordance with our data privacy policy.
Venue: KW Institute for Contemporary Art
Was also part of: exp. 1
Founded 1992 in São Paulo, BR – live and work in São Paulo
Antônio Araújo, born in Uberaba, Minas Gerais, BR
Renato Bolelli Rebouças, born in São Paulo
Guilherme Bonfanti, born in Leme, São Paulo
Rachel Brumana, born in Juiz de Fora, BR
Antonio Duran, born in São Paulo
Eliana Monteiro, born in São Paulo
Nuno Ramos, born in São Paulo
Eryk Rocha, born in Brasília, BR
Erico Theobaldo, born in São Paulo
Tuesday August 4, 2020, 9:30 pm: A funerary procession of around 120 cars tries to push its way through Paulista Avenue, a frequent stage for demonstrations in the financial center of São Paulo, in reverse gear for the nearly seven-kilometer trajectory towards Consolação Cemetery. Teatro da Vertigem’s Marcha à ré [Reverse Gear] is a performance developed with artist Nuno Ramos and filmed by Eryk Rocha. The piece addresses the necropolitics of the far-right populist regime in Brazil, currently engaged in a genocide of its own population.
The piece was conceived in response to works by Flávio de Carvalho. The first is Série Trágica [Tragic Series], a striking series of drawings portraying the mother of the artist in her deathbed. In the context of the Covid-19 pandemic, her agony represents the right to mourn the thousands of deaths ignored by the government’s authoritarian and negligent response to the health crisis. The second is Experiência no.2, realizada sobre uma procissão de Corpus Christi [Experience no.2, realized on a Corpus Christi procession, 1931], where Carvalho tried to study the reaction of the crowd as he walked in the opposite direction to the worshippers. Due to the Covid-19 pandemic, Teatro da Vertigem’s original plans to come to Berlin and perform a new piece, titled Teologias da Prosperidade [Theologies of Prosperity] unfortunately had to be cancelled.
Teatro da Vertigem is a theater group whose trajectory began with their Biblical trilogy—O Paraíso Perdido [The Lost Paradise, 1992], O Livro de Jó [The Book of Job, 1995] and Apocalypse 1,11 (2000). Their plays and performances avoid conventional stages and opt instead for urban landscapes (streets, rivers) and buildings (churches, hospitals, prisons) inhabited by imponderable elements.
Lisette Lagnado
BLM KOREA ARTS
#BlackLivesMatter #BLMKoreaArts
Young-jun Tak
Statement
#fight4rojava
Graffiti
Weaving Solidarity
Renata Cervetto and Duygu Örs
Q&A
Feminist Health Care Research Group
Web archive
II: La Solidaridad va Más Allá de un Concepto. Entre las Curadoras de la XI Berlin Biennale
Lisette Lagnado, Agustín Pérez Rubio
Conversation
Being in Crisis together – Einander in Krisen begegnen
Feminist Health Care Research Group (Inga Zimprich/Julia Bonn)
Online workshop
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.