Belo Horizonte, Brazil, 1988.
Lives and works in Vitória, Brazil.
“Exercícios pra se lembrar, Rei da Primavera”, 2018-2021. Duration: 4’45”
“Sirva-se”, 2017. Duration: 4’45”
“O que te diz meu corpo?”, 2016. Duration: 4’45”
“Mover o branco/Esgotamento”, 2016. Duration: 5′
“Gorda”, 2015. Duration: 4’45”
“involucrum”, 2015. Duration: 4’45”
“Lavadeiras”, 2015. Duration: 4’2″
“μg/Kg”, 2017. Duration: 4’45”
About the works
– “Quantos passos valem uma caminhada?”, 2016
The performance stresses issues about religiosity, the Brazilian cities territorial organization, especially those cities located in peripheral areas, in addition to proposing to establish a dialogue about the formatting of Afro-Brazilian blackness.
Synopsis: For the performance I set out to walk through the city of Oiapoque, starting this path at the Franco-Brazilian Binational Bridge, located on the border between Brazil and French Guiana (Saint-Georges City), and ending it in the central surroundings of the city, having as the territory defined for that moment, the informal ferryboat port, installed on the riversides of the Oiapoque River, which operated illegally in the traffic of undocumented tourists who wished to visit the French department. Walking barefoot along the path described above, wearing white clothes and carrying a flag of the same shade with measures of 2.30 m x 2.25 m. At each religious temple I encountered on my way, in a continuous movement, until my body was depleted, I fluttered the flag at their entrance doors.
The performance was formatted and presented at the Corpus Urbis Residence and Festival – 4th edition – Oiapoque/AP, in 2018, and at the MoV.Cidade Festival in Vila Velha/ES, in 2019.
– “Branqueamento ou ação repetida de cuidar”, 2019
The work was elaborated from autobiographical memories, mainly starting from the experience lived on a daily basis by Afro-Brazilian people in the process of building their identities.
Synopsis: The performance consists of three subsequent acts. In the first act, dressed in pants and a white shirt, I remain seated in front of a container with six bottles of aerosol deodorants. An audio is made available in the environment with the report of a racist experience that I lived at school, and as the behavior that I adopted while facing the situation is being narrated, exposing my naked body, I use the deodorants, finishing them off. The application process is not limited to the armpits, it extends to all parts of my body.
In the second act, in an attempt to minimize the damage caused by the excessive use of deodorants, I resort to an ancient practice to mitigate the irritations they caused me. At this point in the performance, I produce an oil bath, and apply the concentrated essence of rue oil with extra virgin olive oil to the irritated skin.
In the third act, following the application of rue oil, I prepare an herbal bath so that I’ll be able to wash myself. Still naked, in front of two containers, a larger one to accommodate my body while standing, and a smaller one with hot water and herbs to be mashed, I prepare the bath. On my knees in front of the smaller container, I mashed the herbs and mix them with the hot water. As soon as the mixture is warm and ready to be used, and having the essences of the herbs already incorporated into the content, standing in the largest container, I apply the preparation on my body, respecting the limit from the neck to the feet.
The performance was performed on the 26th anniversary of the Negro Capixaba Museum (MUCANE), in Vitória/ES; at the III Mostra Movediça de Performances, at Galeria Liberdade, in São Paulo/SP; and at the p-ARTE – Performance Platform, 42th edition, in Curitiba/PR.
– “Rei da Primavera”, 2021
The performance was based on autobiographical memories, based on the attempt to establish networks of affection among Afro-Brazilian people.
Synopsis: For the work I created a fur-jumpsuit embroidered with leaves and artificial flowers, accompanied by a crown of branches, flowers and leaves of the same material produced for the head. Like the flowers I made for the decoration of the hall where the school’s Spring Ball was held, I produced several flowers, with scraps of fabric, which I placed in a straw basket, like a picnic, in the mold of a floral arrangement. After dressing in this florid skin-coverall, holding the flower basket in one hand, I start walking through the public space. During the tour, I distribute the various flowers I carry to the black passers-by that I meet along the way.
The performance was developed with an award from the Municipal Culture Fund of Vitória – FUNCULTURA (Public Call No. 005/2020 For Selection of Proposals for Presentation and Artistic-Cultural Formation – Federal Law Aldir Blanc)
– “O que te diz meu corpo?”, 2016
Synopsis: I dress myself in a skin-overall and walk through the public space in silence. Through headphones placed under the skin-overall connected to MP3-type audio players fixed on my body, the passerby can hear random memories, recorded informally by me and that connect the parts where the devices are fixed.
The performance was held at Encuentro 2019, from the Hemispheric Performance Institute (NYU), Mexico City/CDMX. SESC Aldeia Ilha do Mel Festival, 2017, Vitória-ES; Fragile Collective Exhibition – Fine Skin of Civilization, 2017, Federal University of Espírito Santo, Vitória, ES; I Modern Art of Afro-Amerindian Youth in Vitória Municipal Week, Negro Capixaba Museum – MUCANE, 2017, Vitória-ES; Xoque of Art of War Exhibition, Florianópolis, Santa Catarina, 2016.
– “Epiderme Social”, 2015
The performance “Social Epidermis” recaptures the “control images” often attributed to Afro-Brazilian people, exposing the daily racism that they have to face in their experiences.
Synopsis: I position myself in the middle of the street, in a place with a relevant flow of passersby, wearing everyday clothes. In silence, I undress until there is only the underwear left, then blindfold. With assistance, I put a stamp in one of my hands and in the other 06 (six) stamps with the names “fat”, “black”, “fag”, “dyke”, “feminist” and “effeminate” [words that througout my life played the role of proper noun, identifying me], and 01 (one) stamp with my name. In silence and blindfolded I wait for the passerby to begin to mark my body, using or not the stamps.
The performance was held during the Viradão Cultural of the City hall of Vitória/ES and had its records presented in the exhibition CORPOFORMER, during the I Performe-se – Performance Festival, 2015; Exhibition The more art the better, from the Arts Center of the Federal University of Espírito Santo – UFES, in 2019.
– “involucrum”, 2015
The “involucrum” performance starts from autobiographical experiences and tensions the socially established body standards.
Synopsis: Face-to-face performance that consists of the creation of an epidermis (skin-wrapper), of paint and glue, produced through countless layers that surround the performer’s body. After the skin-wrap has dried, it is removed as in a voluntary skinning process. The action is long lasting and has a stretcher, chair, brush, white glue-based paint, spatula, paint canister and two performers.
The performance was held at the collective exhibition OCUPA 2015, at the Art and Research Gallery Federal University of Espírito Santo; Casa Cultural de Stael, Vitória – ES during the event Open House – Viradão Cultural 2015; Mostra de Teatro de Grupo, 2015, Cia de Teatro Má Companhia.
– “μg/Kg”, 2017
Synopsis: Participatory face-to-face performance. From the environmental crime blamed on the company Samarco, whose dam was breached, affecting the city and rivers close to the company’s locations, and others still, which occurred in Bento Rodrigues, city of Mariana, MG, on November 5, 2015, this performance arises and proposes the preparation of a moqueca capixaba with contaminated fish, brought from the region affected by the event.
The performance was performed in the group exhibition Deslizes Monumentais, Dreams Intranquilos, from the Art Gallery and Researched Federal University of Espírito Santo, Vitória / ES, 2017.
– “Ensaio para [des]construção do corpo”, 2019
Performance tensions the relationships established with food. It tries to highlight the hate/love and acceptance/non-acceptance relationships experienced by different people socially. It searches for the performer/food relation materialized by the mechanical act of eating, investigating the individual-body-society relationship.
Synopsis: Dressed in white, I set the table with several courses. After the table is ready, I serve, with a small portion of food, all present. After this act I sit down and start eating. I propose myself to eat all the food available. This act starts slowly and is accelerated (violently) as I feel it is necessary. During this process, vomiting and bleeding happen on the table. After all the food has been eaten – and often vomited back, I get up and serve the leftover food to anyone who decides to share it.
The performance has already had its process disassembled within the VII InterFaces International – Performance and pedagogy: poetics and politics of the body, at the Federal University of Uberlândia, it was also presented at the collective exhibition DAVisuais, from the Federal University of Espírito Santo.
Geovanni Lima na EPA_PERFORMANCE NA REDE, 2020. Duration: 56’31”
Quarto eixo do “Ciclo de Formação Online em Performance”, ministrado por Geovanni Lima, 2021. Duration: 162’45”
DEBATE SOBRE A EXPOSIÇÃO: VISUALIDADES QUEER, 2020. Duration: 165’40
Talk ‘Diaspórica’ – Encontro das Pretas 2020. Duration: 104’57”
