Performances

It is an ancestral gesture, the delicate movement of the needle which circulates, coils, threads. The concentration of the seamstress at work.
Installed in the window of a busy street, at the interface of public and private spaces, Renata Andrade denounces violence against women by weaving on her own skin the degrading speeches suffered by women on a daily basis. Whether in the street or in the privacy of their homes, women, from an early age, are the target of sexist remarks that print themselves on their skin and mark them with a hot iron. In the window of this former fine lingerie store, the artist also highlights the link between the objectification of women's bodies, commonly used as a promotional tool, and its consequences in terms of social violence.

At what point does a motive of national pride become an object of isolation? "Declaration of love" questions the concept of integration into a simple dialectic: can you live in a country and not love one of the elements that make up his identity? This work echoes the work of Levy-Strauss and Bettini which questions the construction of identity in its xenophobic form: how to be "me" without rejecting "the other"? In Tristes tropiques, Levy-Strauss thus puts on the same level the anthropophagy of the Indians of Brazil, who eat the other in order to appropriate their qualities, with the anthropemia of Western societies, which, literally, vomit the other. This work thus highlights the fine line between openness to the other and construction of oneself.

As part of # WELL18 at the Louvre-Lens, the artist decided to question the tacit commodification of the female body. To do this, she designed the performance "Love Bites". Dressed in a dress made from 394 candies sculpted in the shape of a vulva, the artist put these pieces of love up for sale. The price ? One piece of the other. A piece of oneself in exchange for one end of the other. Body against body.

Realização: Grupo O´Culto 

Atuantes: Renata Andrade e Cleide Vieira

Conceito:

Gaston Bachelard em seu livro A Água e os Sonhos "já imaginou alguns dos devaneios que se formam no lento trabalho da amassadura, no jogo múltiplo das formas que se dá a massa por modelar. Parecera-nos indispensável , colocando-nos do ponto de vista da imaginação material dos elementos , estudar um devaneio mesomorfo, um devaneio intermediário entre a água e a terra. Com efeito pode-se captar uma espécie de cooperação de dois elementos imaginários, cooperação cheia de incidentes, de contrariedades, conforme a água abranda a terra ou a terra confere à água a sua consistência. Para a imaginação material, inteiramente voltada às suas preferências, por mais que se misture os dois elementos, um é sempre o sujeito ativo, o outro sofre a ação".