Invited by Performing the Archive and Damas to explore and revive performances conceived and executed by women-identifying individuals in Portugal, my gaze turned to the archive of Egídio Álvaro, highlighting works such as “Kunst kommt von Putzen” (“Art Comes from Cleaning”) by Natascha Fiala, presented at the Festival de Arte Viva, Alternativa 3, in Almada, 1983. In addition, iconic performances like “Selling One’s Own Body” and “Dressed in One’s Own Nakedness” by the artist Orlan, performed in 1977 at the International Art Meetings in Caldas da Rainha, and the protest organized by the Women's Liberation Movement (MLM) at Eduardo VII Park on January 13, 1975, were powerful statements against female oppression and the view of women in Portuguese society, even though they were interrupted and sabotaged by male groups.

From these references, I explore the connection to my artistic practice, where I investigate precarity as creative material and a lens for reflecting on contemporary thought. My gaze turns to the system’s failures, the audacity, and the delirious "womanhoods" that transform poetry into resistance.

The research material will be presented at Damas, a space of experimentation between the streets of Largo da Graça and the interior of this iconic house that welcomes me.

​

On this journey, I do not walk alone:
Installation, live video manipulation/confuse to remember/ by Flor
Sound piece: “Bocas,” in collaboration with Menino da Mãe (audio processing and composition) @bertrandious
Participation of Clara Alice and Alexandra Vidal (queens of @damas.lisboa)
 

Photos: @fnandaalmeida_
Video: @tucolleto

Keywords: Trans Avant-garde, Post-world, Breach, Market, Cleaning, Explosion, Memory, Life

​

💸💸Supported by: @fcgulbenkian @ocriatorio