Diese Videoaufzeichnung stellt nur eine Möglichkeit der Inszenierung dar, da sie während nur einer Aufführung aufgenommen wurde und könnte an einem anderen Tag möglicherweise unterschiedlich wirken.
1945 Mal gesehen
Datum der Aufzeichnung: 24.06.2016
Ort: TQW / Studios
Im Rahmen von: (COUNTER)TROPICAL Season Ending
In the performative lecture the kuir sauvage , in a critical and funny way, I talk about my process as queer immigrant, academic and artist. The topics of Anthropophagy and Anthropoemy be present to criticize the integration between cultures, in the sense as to be the other one, like I am, is revolutionary. “The anthropoemy - the vomit - stops the digestion and evacuation: reverses the dialectic relation to not allow the synthesis”. The anthropologist Claude Lévi-Strauss brought both concepts in his book Tristes Tropiques (1955). I also bring the book that created the first colonial fantasies about Brazil, True History - an account of cannibal captivity in Brazil, by the german Hans Staden (Marburg 1557)*. This book was the material that inspired Oswald de Andrade to write the Anthropophagic Manifesto. From that, the Anthropophagic Movement began, a distinct movement in the Brazilian Modernism that inspired the Movement Tropicália as well as many others.
I talk about these topics in connection to my biography because since childhood, my desires and my blurred identity have been subjected to violence, and that became the basis of my creation. In my personal journey, I have arrived and identify myself with three main schools of thought: Performance Art, Post-Colonial Studies and Queer Theory. These approaches reverberate both, in my mind and in my body, as well as in my artistic practice, in such a way that I cannot separate theory from practice, and neither criticism from body. My body became the arena for the manifestation of desire, politics and history. What inspires me is failure and insecurity. I will never be Judith Butler, but being closer to Nízia Floresta, I am satisfied with the cultural translation I can do from Butler and her theories, in a creative unfaithfulness that surprises me. Maybe to be unfaithful is a strong character to be explored with more insistence.
After my Bachelor's degree in Social Sciences in Brazil, the tension between marginal culture and spheres of power became evident themes in my work, giving rise to the performance act titled Solange, I am open!, in 2006. In this work, the Drag Queen culture, Anarcho-Punk Hardcore and Funk Carioca (electronic music from the favelas of Rio de Janeiro) come together and merge through a strong active form of body discursive critique. The themes of this stand-alone performance, remain due to the strong authorial voice.
The colonial project, here or in Brazil, is working to shape our subjectivities. My questions are: Am I re-acting a “tropical queer body”? How I can criticize the spaces of art while I occupy them? How I know if I am criticizing and/or just reinforcing stereotypes? I invite you to join with me my performative lecture and my performance, to think about these questions.
To finish it: “Stop! I’m not a diva. I’m a bitch!”
*In german, the book calls Warhaftige Historia und Beschreibung eyner Landtschafft der wilden, nacketen, grimmigen Menschfresser Leuthen in der Newenwelt America gelege.
Pêdra Costa is a Brazilian Performance Artist and Anthropologist based in Vienna / Berlin. S/he is currently doing a Diploma in Conceptual Art in the Academy of Fine Arts Vienna and working with queer migrant artists internationally. Hers work is transversed by the aesthetics of post-porn, hers research on decolonial concepts, and an understanding of art and life as being totally interconnected.