• São Paulo 🇧🇷

abigail Campos Leal

abigail Campos Leal. A meandering mountain range, she moves between Art and Philosophy to create poetics that allow us to both destroy the world as we know it and imagine radically different ways of inhabiting the infinite. She holds a master’s degree in Philosophy from UFRJ, is a PhD candidate in Philosophy at PUC-SP, and is a professor in the Specialization in Human Sciences and Decolonial Thought at PUC-SP. She published “escuiresendo: poetic ontographies” by O Sexo da Palavra (2020) and “ex/orbitâncias: the paths of gender desertion” by GLAC Edições in 2021. She is the founder and organizer of Slam Marginália. She has performed at Museu Casa das Rosas (SP), Solar dos Abacaxis (RJ), Museu do Amanhã (RJ), Museu da Imagem e do Som (Ceará), and Centro Cultural São Paulo. She has participated in group exhibitions at Museu da Diversidade (SP), Itaú Cultural (SP), Centro Cultural São Paulo, and Museu Casa das Rosas. She was a resident at Pivô Pesquisa cycle 1 2023. She has written critical texts for Foam Magazine, Pipa Prize, and for the 35th São Paulo Biennial: Choreographies of the Impossible.

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Photo: Tento Desenhar

International guests

  • Brasília 🇧🇷

  • Catu 🇧🇷

  • Manaus 🇧🇷

  • Rio de Janeiro 🇧🇷

Tatiana Nascimento

Tatiana is the mother of Irê and non-binary. She is a writer, composer, singer, translator, and editor at Cartonera Padê – Black/LGBTQIA+ authors. She celebrates the forces of Wind and Earth that govern her Orí in syntactic, phonetic, semantic, and affective disarchitectures. Those Disarchitectures form the spine of sound and silence, the foundation of plexuses, planets, and the words in her poems and songs. Her poetic work, musical production, and research delve into meaning, melody, and noise in a looping manner, creating a reengineering of themes such as dreaming, affection, blackness, cerrado (Brazilian savanna), sea, and motherhood. She has published 14 books of her own, and her work “palavra preta” was a finalist for the Jabuti Prize for poetry in 2022. She has translated authors such as Audre Lorde, Gloria Anzaldúa, and Renee Gladman. She is the creator of the first “Slam das Minas” (Slam of Women) in Brasília (DF), and the creator of the first training on white privilege and whiteness in Brazil.

She conceptualized the term “cuírlombismo,” opening a new path for the interpretation, critique, and diffusion of black LGBTQIA+ aesthetic productions. She is a reference in academic research in Brazil, as well as international, regarding sexual dissidence and diasporic gender desertions. Her essay on the subject, published in 2019 by the São Paulo-based n-1 publisher, has been translated into Spanish, English, and French, and it reframes paradigms of research on contemporary black queer poetry, “disrupting the white colonial paradigm of pain.”

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Ventura Profana

Daughter of the mysterious bowels of mother Bahia, Ventura Profana prophesies multiplication and abundance in black, indigenous and travesti life. Doctrinated in Baptist temples, she is a missionary pastor, singer, writer, composer and visual artist, which practice is rooted in the research of the implications and methodologies of evangelization in Brazil and beyond, through the spread of Neo-Pentecostal churches. Praises, like the sting of a dagger licked with wax and rust in Pharisees’ hearts.

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UÝRA, 33 years old, indigenous in diaspora, two-spirit (Travesti), resident of Manaus, Amazonas – Brazil.
She is a biologist, a master’s degree holder in Amazonian Ecology, and works as a visual artist and art educator for traditional communities. She lives in an industrial territory in the middle of the forest, where she transforms herself into a Walking Tree, always created with organic elements. She has participated in over 50 collective exhibitions, both national and international, and has had 5 solo exhibitions, including her debut at the Museum of Modern Art in Rio de Janeiro, Brazil, and the Currier Museum of Art (USA). She was featured in the 34th São Paulo Biennial, the Manifesta Biennial! (Kosovo), the 13th São Paulo Architecture Biennial, and the 1st Biennial of the Amazon, as well as being the winner of the EDP in the Arts Award – Tomie Ohtake Institute, the PIPA 2022 Award, the SIM Racial Equality Award 2023, and the FOCO Arte Rio 2023 Award. Uýra uses her body as a medium to narrate stories of different Natures through photo-performances, performances, and installations. She is interested in living systems and their violations and, from the perspective of diversity, dissidence, functioning, and adaptation, she (re)tells natural stories, stories of enchantment, and diasporas existing in the forest-city landscape. Her works are part of national collections, private collections, and institutions such as the Pinacoteca de São Paulo, Instituto PIPA, as well as international collections such as the Castello de Rivoli (Italy), Institute for Studies on Latin American Art of New York (ISLAA), Currier Museum of Art, and Los Angeles County Museum of Art (USA).

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Elton Panamby

Panamby is an artist, uneducator, and PaMa (non-binary parent), Master and Doctor of Arts. His practice is dedicated to research and creation around psychophysical limits linked to practices of body modification, sound, matter and dream practices in ritual experiences, apparitions, figures, and visions. He continues to follow healing paths, moving through territories (SP/RJ/MA). He started to generate sounds as a dark poetic practice, instigated by the processes of pregnancy and childbirth, as an attempt to touch the invisible, evoke and communicate in other languages.


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Photo: Alhasan Yousef

Uýra: The Rising Forest


Uýra is the alter-ego of Emerson, a non-binary performance artist and ecologist of indigenous origin living in Manaus, Brazil. Literally marginalized as an Indigenous, queer, and trans person living on the outskirts of town, Uýra demands to be heard and seen, using exquisite transformations — often created from materials found in the nearby forest — to spread their message of environmental protection and promote LGTBQ+ rights.

Traveling through the Amazon, Uýra visits Indigenous villages to share ancestral knowledge with the youth and bring awareness to the importance of identity and place, at a time when both are under attack from Brazil’s repressive political regime. Through dance, poetry, and visually stunning costumes and makeup, Uýra boldly confronts historical racism, transphobia, and environmental destruction. Their search for their own identity and their struggle to bring awareness to the interconnected relationship between humans and the environment — not to mention the direct link from structural racism to trans- and homophobia — lie at the heart of this poetic and eye-popping film.

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Elton Panamby

A walk between intersections in a benevolent appearance of smoke and salvation. In the historic center of São Luís/MA, the figure that refers to and honors the kazumbas of Bumba Meu Boi and the caixeiras do Divino begins the incense near Beira Mar, at the intersection of 5 streets where people drink, smokes and sings, where there used to be a train station, up to the intersection between Rua Santo Antônio/Treze de Maio and Rua Grande where part of the trade is concentrated. All in the emptiness of an election Sunday. Steps of agony, of protection and of salvation given by the touch of the Divino drum. Good morning to Mrs. Emília, the hostess of the party of Beco do Seminário. Good morning to the rare bodies on the move, to the bodies that actually inhabit the streets with or without a pandemic, to the places where this year the desire for celebration has been left behind, good morning to the colonial ruins that live within us in the diasporic contradiction. ENCRUZA ILHADA is an attempt to open pathways within an isolation condition.

Figure: Elton Panamby
Production: Filipe Espindola
Assistent: Txai Panamby
Camera: Carolina Libério and Ramúsyo Brasil
Audiovisials: Elton Panamby