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.

Influenced by her Phd research on Cannibalism in Contemporary Art, Renata Andrade revisits the colonial past in this performance and highlights the exotic imaginaries integrated by contemporary society. She uses what she defines as the cannibalistic myth to reveal its colonial character.
Commonly associated with the primitive, the exotic and the erotic, the accusation of cannibalism greatly contributed to the justification of colonization. By associating current stereotypes of Brazil with human zoos pictures from the 19th century, Renata Andrade shows the persistence of colonial domination. In this work, she de-exoticizes her own body, often associated with the beach, the samba and the favela, and shows the break between reality and European imaginations.
The posters inspired by human zoos invite you to observe a cannibalistic woman, a pictorial mixture between the cannibal Brazilian Indian women imagined by De Bry at the end of the 16th century and the contemporary sambistas, objectified during the carnival parades. This hybrid character, like the cannibalistic myth, fascinates and frightens. The performance, in which the artist wears a decorated wooden panel, ironically shows that this pejorative image is only a facade.

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.

Neste performance, a escultora - Renata Andrade - apresenta um envolvimento incrivelmente intimo com a material de trabalho e o seu tema recorrente. Não sabemos mais o que é artista, argile ou arvore. Tudo acontece de forma orgânica e com fluência. Onde existiam três elementos se torna um totalmente unificado.

Realização: Grupo O´Culto 

Atuantes: Renata Andrade e Cleide Vieira

Conceito:

Ate onde vai a criação do homem? Ate onde vai o homem criador?

Na necessidade de se tornar eterno o homem cria, constrói e acaba morto pela sua própria criação – O Criador sede o seu nome para criatura que ganha vida e se eterniza,a obra supera o criador.

Apresentada no Congresso Nacional de Técnicas das Artes do Fogo (CONTAF) e em Mairinque