(this page was last updated in August 2023)
Rio de Janeiro, Brazil, 1995.
Lives and works between Rio de Janeiro, Brazil and Barcelona, Spain.
PIPA Prize 2023 nominee.
PIPA 2023 Selected Artist
“I have been looking for ways to remove the body from the traps of vision and thus, observe other visible and invisible densities that make up our relationships in space, to critically think about their agencies, formativities and the way we see them in the world. Trying to understand how we deal with what escapes a name and what we cannot see. To that end, I focus on the creation of amorphous and unstoppable materialities, the result of the combination of synthetic and organic compounds that permeate most of my works.
I situate my practice in the friction between sculpture, video, installation, and performance, reflecting. I’ve been asking myself, how do we dismiss the idea of Thing from the matter’s recategorization processes? How and why we separate the Things, feeding a narrative created by a world revealed in luminosity and vision traps. Doubting the apparent world and establishing dynamics between the removal and positioning of bodies (materials) in spaces, I have been working on questioning production’s tools of difference developed by white-western thoughts concerning bodies not understood as Life.”
Member of the Carni Collective – Coletivo de Arte Negra e Indígena, currently participating in the PEI – Programa de Estudios Independientes at MACBA in Barcelona. Winner awarded at the Prince Clauss Seed Awards in 2021, Premio Foco 2022 and at the 6th Edition of the EDP Nas Artes Prize at Instituto Tomie Ohtake, SP, 2018. Participant in the CCSP exhibition program in 2020. Resident at Villa Waldberta, Munich, GER for the residency PlusAfroT, 2019. In the same year, he was a resident in Lugar a Dudas, Calí, Colombia.
Website: @iagorperes
Video produced by Do Rio Filmes exclusively for PIPA 2023:
Series “Estrutura para campos densos”
Series “A segunda forma da ausência”
Series “When the matter is gone”
PLUSAFORT Residency
Series “Linha de Fogo”
Series “Exercicio entre suporte concreto e altura”
Series “Ali entre nós um invisível obliterante”
Series “Trienal Frestas – O Rio é uma serpente”
“Ali entre nós um invisível obliterante”, 2020. Duration: 8’33”
“Copa”, 2018. Duration: 3’05”
“__________ I”, 2021. Duration: 2’35”
“Rejunte”, 2017. Duration: 1’29”
Residencies/ Courses
2023/2024
– PEI – Programa de Estudios Independientes – MACBA – Barcelona Spain (16 months)
2022
– Ire – Arte, praia e pesquisa – Salvador. BR as result by the FOCO Prize (2 months). Imerssion in Maranhao as a process for commisioned work by Vleeshal Center for Comtemporany Arts in Netherlands. Curated by: Nomaduma Rosa Masilela and Thiago de Paula Souza. (2 months).
2021
– Scholarship holder in Pedra e Ar course of EAV- Parque Lage – Rio de Janeiro
2020
– Counseling program – Frestas Trienal – SESC, SP. Curatorship: Beatriz Lemos, Diane Lima and Thiago de Paula Souza (2 months)
– Pivô-Research. Curatorship: Clarissa Diniz (3 months).
2019
– Lugar a Dudas, Calí. CO. (1 month) Villa Waldberta, Munch. GER. Curatorship: Diane Lima and Mario Lopes (2 months).
2018
– Tempo negro (Black time) – lectures by Diane Lima at Diáspora Conecta, Salvador. BR
2017
– Conexão Curimbó Residency – Belém, PA Oque vemos que nos olha (What we see that sees us) with Lia Letícia, Recife. BR.
2016
– Laboratory of Research in Urban Performance Art in CCBA – Cultural Center Brasil- Alemanha. (1 year).
Awards
2022
– Premio FOCO – Artrio. Link
2021
– Prince Claus Seed Awards.
2018
– Awarded at the 6th edition of EDP Nas Artes Prize. Instituto Tomie Ohtake, SP.
Conversations / Interviews/ Podcast
2022
– Interview for Contemproany & America Latina
2021
– Interview by Monica Coster to Desvio Magazine Link
2020
– Radio Montez Press – NY, EUA. Episode: Ends. Curatorship: Manuel Arturo Abreu Link
2019
– MOTE Podcast – 15th edition – Paulete LindaCelva, Recife. BR.
– Viernes Social, Lugar a Dudas, Calí. CO.
– Classe de Materialidades- Universidad de Bellas Artes, Calí,. CO.
– CURVA PODCAST Curatorship: Leticia Barbosa, Recife.BR.
Individual exhibitions
2020
– Comissioned individual Strucuture for denses fields for the CCSP’s Annual Program of Exhibitions 2020, São Paulo,SP curated by Helio Menezes.
2018
– Comissioned exhibition Estudos para minha pele (Studies for my skin) for the artist launching project of Galeria Maumau, Galeria Maumau curated by Lia Leticia.
Collective exhibitions
2022
– Possible Agreements – Brussels – Mendes Wood galerie curated by Thiago de Paula Souza
– Ópera Citoplasmática – Museu Oscar Niemeyer curated by Diego Mauro e Luana Batista.
2021
– Festival Hors Piste – Center Geoge Pompidou and Centro Cultural Vale do Maranhão with the work “Ali entre nós um invisível oblite rante” curated by Gabriel Gutierrez
– Commissioned work “____ ______ I ” at Trienal Frestas – O Rio é uma serpente (The river is a serpent) Curated by: Beatriz Lemos, Diane Lima e Thiago de Paula Souza.
– Commissioned work for a online project at Food Culture- From the forest’s ashes – Veyvey, Switzerland, curated by Valentina D’avenia Link
2020
– Commisioned work for Escrito no Corpo (Engraved into the body)- Carpintaria, curated by Keyna Eleison e Victor Gorgulho. Rio de Janeiro.
– Propágulo magazine’s 4th edition launching exhibition, Recife.
2019
– O que não é floresta é prisão política (What is not forest is political prison), São Paulo. BR. Curated by Ocupação 9 de julho
– Commisioned work for O melhor da viagem é a demora (The best of traveling is the lateness), Valongo Festival Curatorship Diane Lima, Santos. BR.
– Commisioned work for Cataclismo, – Galeria Garrido, curatorship Phantom five, Recife.
– Commisioned work for Lost Body – Displacement as a choreography, Curated by: Diane Lima. Villa Waldberta Munch, DE
– A memória da Deriva (The memory of the drift), Casa da Pólvora, João Pessoa – PB. curated by Abiniel João do Nascimento e Thiago Costa 2018 – 6th edition EDP Nas Artes prize – Instituto Tomie Ohtake, São Paulo. BR.
2017
– Mostra À Beira – Collective curatorship – Coletivo à beira, Recife. BR. Instructor – 1a Public Arts Show Criaturas Urbanas Cinecão A má educação (Cineção- The bad education) – Galeria Maumau – coordinated by Lia Letícia, Recife. BR.
– Práticas Desviantes (Deviant practices) – Murillo La Greca Museum, curatorship Ariana Nuala,Re cife. BR.
2014
– Peixe Vivo (Living fish) – Cine Artes UFF, Niterói. BR.
Publications / Quote
2021
– 6 and 7 edition Propágulo Magazine Review by Denise Ferreira da Silva in the book Entrevistas Brasileiras 2: Hans Ulrich Obrist (Brazilians interview 2: Hans Ulrich Obrist)
– Catalog Festival de Desenho Vivo – CCBB, Text by Ana Kiffer and Ariana Nuala
2020
– Review at Pass Journal in the article “Invisible/Obliteranting” (online) by Denise Ferreira da Silva Link
– Review The skinmaterial of Iagor Peres – by Andre Pitol at Anual Exhibition Programm of CCSP Link
– Review at Frieze Magazine – in the text Refusal and fugitivity (online and printed) by Denise Ferreira da Silva* Link
– Collective publication Bololo – developed as the conclusion for PIVÔ-Research residency.
– Contribution with the text – Ali entre nós um invisível obliterante (There, among us, an oblite rating invisible) – EHCHO. Link
– Outros fins que não a morte (Other ends but no the Death) Curatorship: Paulete LindaCelva
– Contribution with the text – Quando um raio bate na areia (When lightning strikes sand). – Propágulo Magazine, 4th edition, Recife. BR.
2019
– Gravidade Magazine – 3rd edition, Salvador.BR.
2018
– EDP Nas Artes’ Catalog – Review text by Diane Lima.
Education
2023/2024
– PEI – Programa de Estudios Independientes MACBA, Barcelona, Spain
2021
– Course Pedra e Ar (Stone and Air) – EAV Parque Lage with Clarissa Diniz e Ulisses Carrilho, Rio de Janeiro, Brazil [3 months]
2020
– Study program – Trienal Frestas – O rio é uma serpente [The river is a serpent] with Beatriz Lemos, Diane Lima e Thiago de Paula Souza [2 months]
2018
– Course “Tempo negro [Black Time] with Diane Lima, by Diáspora Conecta, Salvador, Brazil [1 month]
2017
– Course “O que vemos que nos olha” [What we see that look at us], with Lia Letícia, Recife, Brazil [6 months]
2016
– Laboratório de Pesquisa em Performance urbana (Research Lab of urban performance) at Centro Cultural Brasil-Alemanha (cultural center Brazil-German), Recife, Brazil [12 months]
2014
– Escola de artes gráficas Redzero (Graphic art school Redzero) Niterói, Brazil [12 months]
Materially situated in the friction of sculpture, installation and performance, I’m thinking about visible and invisible densities that compose relationships in space. I’ve been working around the question of western-white-supremacy over other bodies, bringing focus to the performativities of these corporealities, which are commonly seen as subaltern lives. For this, I start from the experience as a racialized body to think about what happens when subjectivities that were allocated in history within the category of object or thing, as in the case of black and indigenous enslaved people, start to inhabit and claim their places and positions as Life. What does this movement suggest about the possibility of a structural review of our relations with the Things?
I am thinking about how to transform these notions of Things and the categorization of bodies. For that, I look at this invisible layer that exists between me and the world (racialization) and the historical reality of workers who were treated as things before in order to search for tools and processes that can dismantle the ethics that still sustain and propagate racial violence.
To do so I started a series called Studies for my skin, and through alchemical experiments I developed a compound I named skinmaterial (mix of organic and synthetic components). Skinmaterial proposes a direct action with the world beyond my own presence. It silently breathes and moves through tacit agreements with gravity, humidity and temperature. Its making has an approximation to a culinary gesture and through my research I realized that with each annealing bath process, its movement in time expands, getting slower and slower, to the point that the change of shape is only noticed by those who attend on a scale of months, and depending on years.
I intend to dialogue with performative processes of non-human corporealities thru sculpters, in order to instigate actions not based on the denial of life.Seeking to create dynamics of opacity, sometimes hiding information or forms of the matter itself to present them in a specific way or composition. In a general intention to doubt the apparent world, or the ways we see Things and open space for doubt about what we see. With that, I believe in the possibility of triggering the dynamic potential of transformation the material can have through the relationships that are established with it, making a Thing be at the same time Others and none of them.
