Portfolio Carlos Monroy Selected Pieces 2003 - 2023

Carlos Monroy. (Bogotá, 1984) Colombian artist and researcher, immigrant in São Paulo, Brazil. His performances question the boundaries between the so-called highbrow, popular and mass culture repertoires, colonial structures of thinking, as well as the institutional boundaries performance started being assigned between the late 20th and early 21st centuries. To do so, he coins the term “Re-formance,” with which he interprets procedures such as repetition and copy in positive way, regarding them as tools for creation and critique. Monroy completed a bachelor’s degree in Arts at Universidad de los Andes, Bogotá (2008) and a MFA at São Paulo’s University USP (2014). He served a stint as a researcher at the International Center for Arts of the Americas, associated with the Museum of Fine Arts, in Houston (ICAA-MFAH), United States, 2009, writing critical reviews on the history of performance in Colombia from the 1960s on. In 2012, he participated in the emerging performers program of the New York University (NYU), in the same country. In 2018, the Colombian Ministry of Culture granted him with a three-month residency at the Cité international des Arts in Paris to complete a research on decolonizing body based practices. In 2017, he won the research price award of the 32nd MGLC Biennale of Graphic Arts Ljubljana for his video installation and performance piece Baphomet. In 2015 the Lambada’s Museum project was chosen to be a commissioned for the 19o SESC VIDEOBRAZIL Festival. His solo performance and exhibitions include: Corpus Leve Obis Novus at CCSP (São Paulo, 2018) The Performatic Quicky at SILENCIO (Paris, 2017); Monroy’s Living Cliche Since 1984, at OCOA (SP, 2014) and SCOTOMA, Ateliê 397 (SP, 2014), between others. His group exhibitions include: Buried in the Mix at MEWO Kunsthalle, (Germany 2017); Rencontre Internationale d’art performance de Quebec, (Canada, 2012); and INTERACKJE Festival (Poland, 2009) among others.

AMAZONOMAQUIAS

KIOSKO

Galería

Inspired by travel chronicles and narratives about the search for mythological territories in colonial America such as Matinino, Tropobana, El Dorado and Paititi; the performance Amazonomaquias takes the form of a carnival procession composed by three Amazons (single-breasted violent womdog-headed cannibal man).

The carnivalesque journey of the four characters seeks to present both archetypes of abject masculinity and femininity (Amazons and cinocéphalos) as the inaugural images of the delirious colonial alterity imposed on the American territory. Simultaneously, the aesthetics of the characters as well as their actions in the courtship seeks to highlight how such fantastic visions have been perpetuated, in a symbolic way, as the images of social understanding of alterity that still today are used to catalogue the “other”, different one, migrant, LGBTQ+, disabled, Afro-descendant, or simply “the one who is not me”. To this end, the tour featured two solemn but fun sweet-sixteen alike ceremonies (one in the public space and the other at KIOSKO) in which the entities, making use of the most Europeanised Latin American delirium, revealed the small treasures and aesthetics (the real Paititi) of the city of Santa Cruz. -

cy KIOSKO with collective effort of the following local artists: FASES DANZA Diego Guantay and Norman Chacon (Performance and choreography), Luis Daniel Agreda (Fashion Design), Adriana Miranda (Masks and Intimate Apparel), Gustavo Diaz (Makeup), Pablo Terrazas and Andrés Zúñiga (video and photography), Rubén Vaqueros (video and photography).

https://vimeo.com/user8698294/amazonomaquias

Performance

Series of Drawings, Masks & Performance for 4 bodies of 3 hours Aprox.

1.

7 pastel paintings/colllage variable scale about 2 m x 1,50 m each), 4 video channel installation and 45 min performance piece.

Inspired by Schwabian-alemannic Fastnacht traditions, the project composed by drawings, a video installation and dance performance the project Novus Orbis Daemonium proposes a visual and physical encounter with seven made up Dæmons (carnival entities which are simultaneously colonial daemons and decolonial gods). Together they perform a rehearsal of a brand new (de)colonial Latinx Fast Nacht.

The decolonial Dæmon pantheon is made up of: Karl Uiztlipuztli, dæmon of war; Maricasquitos, dæmon of the colonized complex; Maja Padilha, dæmon of exoticism; Guillisage, dæmon of migration; Burocratitiwoman the dæmon of burocracy; Pauperrima “opi” Pastrana, dæmon of poverty; and the twins Procubus and Amalgabus dæmons of progress and the violent encounter between the worlds.

Together, they transport the audience into a transhistorical, transmedial and interspecies Fastnacht Latinx trip, exploring our collective colonial sub-conscious to defy the representation of otherness and the imperial-colonial politics that have been dominant from medieval times to present days.

PAUPERRIMA “OPI”

Dæmon of poverty. The two sides of poverty are manifest in its two halves. It uses its knowledge of dance and body practices as a way to survive by entertaining people on the street for money.

BUROCRATITIWOMAN & THE TWINS AMALGABUS AND PROCUBUS

Burocratiti woman is the Dæmon of bureaucracy. A fashion victim of the 18th century, she creates rules and additional rules to explain existing rules. She has accumulate wealth and power by predating natural resources in foreign lands. His sons are twins. Amalgabus is the Dæmon of the violent encounter of the races. Knows music and the arts and helps artists survive. Last but never least is Procubus. Dæmon of progress. Uses his knowledge of commerce and law to either deceive people or multiply their wealth. He is the most deceptive of all the daemons and is known more for tricking people than rewarding them. Both daemons usually choose an aristocrat, whom they either torment or reward.

In this page. 1. General view from the drawing exhibition. 2. Detail from Pauperrima “opi” Pastrana, dæmon of poverty. 3. Detail from Burocratitiwoman the dæmon of burocracy and her twins Procubus and Amalgabus dæmons of progress and the violent encounter between the worlds. Next page. 4. Detail from Karl Uiztlipuztli, dæmon of war. 5. Lipsync video still. Custome and Drag for Karl Uiztlipuztli. 6. Detail from Maricasquitos, dæmon of the colonized complex 7. Lipsync video still. Custome and Drag for Maricasquitos 8. Detail from Guillisage, dæmon of migration 9. Lipsync video still. Custome and Drag for Guillisage 10. Detail from Maja Padilha, dæmon of exoticism. 11. Lipsync video still. Custome and Drag for Maja Padilha.

KARL UIZTLIPUZTLI

Dæmon of war and father of toxic masculinity. He excels in science and strategy which he uses to wage war and conquer others. He wears a Uiztlipuztli mask as a war trophy, ignoring the desecration.

MARICASQUITOS

First dæmon of the “new world” pantheon, this half beast half human is the herself as she tries to make sense of her irreconcilable selves, she is as much a product of identity politics as of history.

GUILLISAGE

MAJA

Solo Dance Performance about 60 min.

Put up as a mix media solo dance/performance/drag event, This rehearsal for the tropicalypsis bring together four of the seven Daemons part of the Novus Orbis Daemonium Pantheon to create a symbolic brindge between greek, enlighting, colonial and contemporary eras.

During this symbolic paganic religious event Monroy embodied each one his made up entities in front of the public, giving them personality, behavior and making them relatave as ghost from past who are visiting our collective colonial sub-concious. With each one of the 4 creatures Monroy display a dance performances and 4 interludes - or moments in between creatures - in which 4 decolonial Lipsync are performed while he and other 2 cooperformers swith the costumes in front of the audience.

While crossing historical references with personal mythology the performance condence in a unique stage experience a research on how the representaition of otherness has been used as a weapon from medieval times to the present days.

https://vimeo.com/714333133

In this page. All the pictures correpond to different moments in the performance. The number in the picture correlates to how the actions develop during the piece 1. Oberture as Karl Uiztlipuztli. 2. & 3. Karl Uiztlipuztli. Salsa & Voguing Performance. 4. Still of the video projec-tween Karl and Maricasquitos 5. Interlude or custome switch between Karl and Maricasquitos. 6. Maricasquitos’ Tetas Parade. 7. Guillisague partner inmigrant ballroom dance. 8. Closing of the show as Maja Padilha playing the horn and laying on the altar.

Solo dance performance piece of about 45 min aprox.

EN EL PRINCIPIO TODO

ERA CUMBIA

Akademie Schloss Solitude Summer Fest Stuttgart, Germany.

Documentary / Video Performance 10 min. & Performance 60 min Aprox.

En el principio todo era Cumbia is a storytelling and musical performance that explores the cosmogonies of Cumbia music, the meanings and stories comprised in this ancient rhythm, its instruments, its songs, and its dance. This is a trip to the pre-Columbian Caribbean coast of the land that today we call “Colombia”. Through narration, dance, and live-streamed music from Barranquilla’s downtown to Schloss Solitude, Marlon Peroza, Carlos Monroy and Maria Cecilia Reyes connect in the essence of cumbia: being Native American, African, colonized, enslaved; being feminine, masculine and everything that inhabits the spectrum; and being shadow, sun and moon, rain and drought. Everyone is invited to feel Cumbia as the original heartbeat, as a secret dance, as an introspective journey. Because at the beginning everything was cumbia, and at the end… it was too.

https://vimeo.com/620135240?embedded=true&source=vimeo_logo&owner=14848802

Performance by Carlos Monroy Music by Marlon Peroza Directed & Filmed by Maria Cecilia Reyes

In this page. All pictures above the line are stills from the 10 minutes documentary video. All picture under the lines are scenes from the life performance done during the SummerFest 2021 at the Akademie Schloss Solitude.

#1MONTHROY is an endurance 30 days performance piece compose by 71 experimental on-line live performances (approx. 1 hr. each) and 17 promo videos (approx. 1 min each.) The whole series is the outcome of a 45 days residency program undertaken at FONTE Art Space, during one of the most intense period of COVID’s pandemics isolation in São Paulo.

The #1MONTH-ROY program was conceptualized as a Daily LIVE TV Broadcasting introducing eight (8) different segments or shows, each one featuring distinct experimental actions that were perform and stream live through FONTE’s social media. Every segment proposes, in its own tv-show alike language, a different kind of interactions with the public leading Carlos “Marilyn” Monroy (the artist) to activate its virtual body presence as a relational tool, on a search to activates the spectators’ body at home. Likewise, a whole promotional campaign was develop featuring several promo short videos with the aim to preview each segment and the series as a whole, as well as bring spectators to know the experimental performance program.

#1MONTH-ROY ended up as an archive of 77+ lives, 90+ performing hours, 30 video-yogart sessions that include the exhibit of the video work of 33+ artist, 26 dance lessons with the participations of 15+ dance teachers, 3 invited coo-perfomers, 4 live confessionary sessions, 2 exchange sessions with 20+ contracts done and 17+ promo videos all for public consultations in FONTE’S social media and at

https://youtube.com/user/gontacenterfolds

In What do you want me to do? Monroy perform real-time all the actions suggested by the spectators trough the live-chat, without selecting or negligence any of them.

YOU WANT ME TO DO?

DO

In Dancing for a Dream, Monroy restream his classes with different dance professor in a way that allowed the spectators to watch the performativity of both bodies (the professor and Monroy’s) engaging the spectators to join the class

DANCING FOR A DREAM

In Respiratsy, Monroy performed daily daring yoga routines in front of the works of 30 video artist, who send their pieces to be projected and intervene by Monroy’s yogi body

WHAT

In Stricke a Pose Monroy hold poses for three minutes of groups of pictures that were send by the spectators before-hand with a preset topic, this were: Dictators, Sculpture, Marilyn Monroe, Latin-lovers, Queer-realness and Alpha Males

STRICKE A POSE

For Mea-Culpa Monroy set up a reality tv-show confessionary in which he confessed all his thoughts and feelings at the end of each of performance week, while the spectators sent through an anonymous chat their own confessions for him to put them in his train of thoughts and take its blame

MEA CULPA

In Artist Exchange

Everything! Monroy intended to exchange all his belongings with the spectators on a shopping-channel alike experience which introduced the spectators by video-calls

in Performatic Art Attack Monroy guide the spectators in an step by step art-show to do decolonizing covers of canonical performance-art pieces with whatever they

this was the “do it” space of the season

In The Hook-up Club Monroy engage the audience to get seduced by him for as long as they want it to

THE HOOK-UP CLUB!

It‘s Worth Wacthing Again, the artist met with the program’s curator Marcelo Amorim to talk about the intense performance experience and review the best moments of the #1MONTHROY month.

Residency MinCultura Prog. Nal. de estimulos. Cité International des Arts, Paris. 2018

The exhibition present part of the materials and research for a possible reenactment (re-forming) of 1550’s royal entrance of the King of France Henry II and, his wife, Catarina de Medici in to the city of Rouen. After a careful review of the documents regarding the royal original entrance - and its remakes in 1596, 1880 and 1883 – that focused on the participation of 50 Tupinambas indigenous people from Brazil who went to Europe to represent themselves to the king, the project questions how the representation of the Amerindians and mestizos comes from a long tradition of fears and misunderstanding of alterity. To talk about the “Amerindian savage costume” without depicting it laterally, The Elephant in the Room presented three movements inspired in two of the 46 cohort descriptions presented on 1551’s royal deduction of the event.

and La Quarte Bande. the exhibit, previews the installation of a costume of an elephant for mid-size horse along with 28 big scale drawings that depicted the history of Elephant imaginary, pointing it as the symbol of colonization desires. The drawings were collected and reproduced from documents, maps and publications starting from the XII century to now-a-days representations of the exotic mammal. The decision of making a real costume came

horses as elephants – was done by the Normand sailors in a symbolic gesture that promises to conquer the east indies in change of money for the campaign. The installative elephant costume is functional and awaits to perform a walk through the streets of Paris. The second piece screenings the video performance Exuberant Tropics in which the artist disguised as cynocephalus - dog headed men - walks through the remains of the Jardin d’agronomie Tropical, place where the human zoo stands during the colonial exhibition in 1901 and 1931 in Paris. The third piece, Tricking the Elephant was a improvise musical/performative lecture with the composer & cellist Hans-Henning Ginzel that based on the original musical score of Henry II’s entrance delivered a bitter sweet historical recount of the colonial elephants in the room.

1 & 2. General vie. The Elephant in the Room. Elephant costume for a mid-size horse. Rigt and left view respectivelly. At the back of boht photos 10 big scale elephants drawings 3 to 5 28 ink over rice paper drawings. Measures aprox. 13 m x 2.5 m 6. Detail of on of the elephants drawings located to the left of the elephant costume.

Video 20 min.

The second piece of the exhibition presents the video performance Exuberant Tropics, in which the artist disguised as a cynocephalus - dog headed man - walks through the vestiges of the Jardin d’agronomie Tropical, one of Paris the headquarters of the colonial human zoo during the universal and Colonials exhibitions of 1901 and 1932, respectively.

https://vimeo.com/317323073 password: theelephantintheroom

Performance en duo 35 min aprox.

The third piece, a performance entitled the Elephant’s Song was constituted as a musical improvisation / poetic lecture, done in partnership with the german composer and cellist Hans-Henning Ginzel. The pair based on the the original musical score of entrance of Enrique II, made an historical account - sweet and sour - of all the elephants and the neo-colonial effects that inhabited the exhibit.

https://vimeo.com/318009533 password: citelefant

EXUBERANT ROPICS

THE ELEPHANT’S SONG Performance.

Video Performance.

Spain from 1621 to 1665, Philip IV, the exhibit chose the controversial characteristics of the King’s extreme sexuality and luxury extravaganza in order to rescue an important character: his bastard son. Known as Kingre who spent his entire life in the American colonies producing innumerable version of himself, always appropriated and recontextualized by the societies of different geographic, economic, religious and political territories through which he passed. From an anthropophagic perspective the exhibit main installation ‘The treasure. Backward cloak of the migrant king. (we are the same and I will not move) ‘, show a of 60 square meters embrodery of 27 faces of the imigrant king, or Latin American carnival fertility entities, in which the public is invited to dress’ and photograph themself. One of this fertility characters is the Marimonda, original from the Colombian Barranquilla’s

original version by having a 400 meterlong nose instead of 20 centimeter, is the focus of the performance Movement Ca(r)nibalesco No. 1499 The curse of the Marimonda. in which the entity dance and celebrates his existence on its own carnival procession procluding while walks and moves proclude by his own nose. This performance piece spawns another installation Maria-rola emvainaá. Marimonda coiled, in which onere with its own body. The solo shows also contained a color pencil drawing, entitled King’s Momo Nautical chart.

1. General view. From left to right: The treasure. Backward cloak of the immigrant king. 60m2 broadery in sequeals. Vorans homines sive novus orbis. King’s Momo Nautical chart. Colored pencil draw over vegetal paper. Maria-rola troubled. Marimonda proclud.

2. General view behind the cloak. Vorans homines resurrectus. 3 to 5 General views. Left, right and back. The treasure. Backward cloak of King Momo immigrant V. 6 to 9 Details of embrodery in different points of the cloak.

COMISSIONED

1.

Room 1: Five Video channel Installation 10 min. Room 2: Entity created from part of Seven different entities related to carnivals and folk worldwide installed side to Fran-

While researching about the Slovenian

fertility and rule over death by bringing rebirth after winter time, the piece proposes a visual travel to different parts of the world on a search for other folk creatures that, as the kurent, rule over death and bring rebirth, are dance exclusively by single males, incorporate sounds on the attires, uses masks or other garments to occult the identity and are part of tradition in colonized countries, For the 32nd. version of Ljubljana Graphic Art Biennial the project created a new entity, composed by the combination of parts of seven disame pagan principles. Such syncretization was used to comment on the life and death situation that a birth of a new country brings to an unsettled and young territory. 1.ght. 2. Installation of Baphomet after perfor(Dead Kurent), 3. Eight entities before syncretization performance piece. 4 & 5. Registerings of the Performance piece. 2 hours lenght.

https://vimeo.com/album/5338240 password: Forgottenation

BAPHOMET. ONE SINGLE BIRTH MADE INCARNATE Installation for the 45º Salón Nacional de Artistas El revés de la trama. Contrainformación. Curatorial Project by: Equipo Tran(s)historia. Galeria Santa Fe. Bogotá, Colombia.

MUSEUM

The rise of lambada as a Brazilian cultural element and the exponential growth of labor immigration from Bolivia to São Paulo in the late 1980s provide the backdrop to this piece, which explores the plagiarizing of the song Llorando se fue [Chorando se foi], written by the Bolivian group Los Kjarkas, remixed in Europe by one Chico de Oliveira, and released in Brazil by the band Kaoma. Media registers, objects, and audiovisual productions revisit the international media craze surrounding lambada, which introduced the world to the country of the forbidden dance style; at the same time, the installation follows the enigmatic Francisco Orcossupa Olivares, a Bolivian immigrant, musician, seamster, and local disseminator of the lambada culture.

Gone Crying. Life and work of Chico Oliveira Documentary 45 min aprox https://vimeo.com/176225283 password: chicovive

Ma cutimpi jaquisinha. Video 5 min 33 sec https://vimeo.com/156566987 password: llorandochegou

Memories will be present... Video 4 min 16 sec https://vimeo.com/244267264 password: fromboliviatotheworld

Lambada’s Love Parade Registro em Video 3 min https://vimeo.com/254013568 password: lambamour

LLORANDO SE FOI. THE LAMBADA’S MUSEUM In memoriam of Francisco “Chico” de Oliveira.

and links to videos of the installation

LATINA TROPICAL

PERFORMANCE WITH NILEN COHEN DA HAUS 2017

Performance piece of about 2 hours leght with participation of colombian artist Nylen Cohen.

The performance consists in the making of a tropical cocktail inside a bath tub in which a male and a female perfomer submerge their whole bodies while preparing and serving to the spectators the beverage. All the performance, including the prior body hygieniza-

space, is musicalized by tropical rhythms and songs alluding to national and cultural identities from the tropics and to the fruits used on the mixed. Each drink is offer to the public as customized piece of art numbered, signed and with an origami pineapple, which once unfolded contains an edition of a publication which exposes headlines and news revealing the direct relation between tropical fruit production, violence, slavery and slaughters on the producers’ countries from1928 to nowadays.

https://vimeo.com/284240352 password: chiquitabanana

Spectators at VERBO2017 calling to the telemarketing attendents to hear the text prepared for each action.

Series of 33 Re-formances performed during the festival VERBO 2017 for 1 hours each.

All actions emphasize the invisibility of the artist gesture. Such indistinctness feature allows the pieces to be completed once the viewers make the decision to believe or not in the authenticity of the action that -

tor were able to make the selection of which of the action was up to be

performing each of the actions was intax photographed. The spectators could reach a telephone number in which an operator read texts writen by friends and collegues of the artist about what he was doing in each action. There was an action for each year of life of the artist. The order of the re-formed actions during the show

Performance of a serie that studies how goods and food from the new world, like sugar, coffee, tobacco, pineapples, coke leaves, cocoa and quina, feed the European enlightenment serving as inhibitors or stimulants that the affected the body and in consequence concentration, awareness and -

phers, writers and thinkers were user of such products. Besides bringing new dimension to good taste and philosophy, this goods speak symbolically about how our bodies and societies still over colonization processes while we still using the thinking made with the blood of slaves and indigenous folks. The performance consisted in the carrying 45 Kilos of sugar, as it they were sited on chair hold to my head and my back, in the same way indigenous and slaves carried colonizer. While leaving a trace of sugar over

my Colombian identity and then opening a small whole in the sack, walk from the Cais de Valongo (place were slaves were auction) to the Museu do Amanha (new Rio’s cultural -

ses). Once I got to the pear I throw away to the sea the sugar left as a symbolic trial to sweeting the sea and changing the history. The research also took into account euge-

the sugar, process done in Europe to brouthe colonies. The performance was companied by a poster series which broadcasted a famous enlightenment quote and trace of sugar that looked similar to a cocaine trace.

https://vimeo.com/284257800 password: Azucar

SINCE 1984

SOLO SHOW OF. CULTURAL OSWALD DE ANDRADE 2014

Poem of approx. 30,000 cm in extension wrote penciled directly on the wall at a height of approx. 60 cm. The work begun outside the front door of the exhibition room, entering and passing through all the walls getting down its height, becoming only 15 cm of the ground in its lower point. The text subtly escort all the works at the exhibit, passing under them, slipping between corners, panels and objects and coming out by the other side end of the front door out to the exhibit room. Because of the changing height of the poem it is necessary for the spectators to change body position to read the text.

The syntactic structure of the poem is systematic, continually repeating its shape, which is the word performance accompanied by an adjective. For example: Performance, Performance Sweet, Performance Good, Performance pull, Performance stubborn... This form allows text to make sense accordingly to their punctuation, pause, pitch and speed with which the reading is made. In the poem none of the adjectives is repeated. This version

where the word performance suffers an amendment before leaving the room becoming the word re-formance.

REPRISE No. 3 Performance sweet re-formance series.

Re-formance piece for 10 to 15 people. Minimum duration 65 minutes, maximum of 85 minutes.

Departing from Re-formance concept, developed and defended as the central idea of the masters thesis Thoughts on Re-formance... The refornt commission presents itself as a collective piece, in which a minimum number of 10 to a maximum of 15 performers, dance choreographically a samba theme that features a la maniere the front commissions of samba’s school does at the sambodromo. This work presents, play and re-shape the historical icons of performance art amalgamating, mixing and celebrating them in the language in which Latin America’s history of the gesture is presented andmission front the participants are required to repeat their choreography up to 5 times for crossing the sambodromo runaway in a max time of 85 minutes.

While appropriating signs and images of the world of the arts using signs, symbols and codes of mass and popular culture, the re-front commission reformulated itself, modifying and changing their actions in each repetition mean while the structure and order of its subject allegory and places in the choreography are maintained. Such reformulation implies that the performers have the freedom to change their actions at any time, improvising new ways and forms of the samecations of the images, actions and symbols that were used could have. The main idea is to emphasize and in which is inserted. The commission invited to re-thinkmance and life, expanding our repertoire of actions to activate the repetition, imitation and appropriation as conscious critical tools of reaction, cheering and approaching in a cherish way the eternal condemnation “of repeating our history.”

https://vimeo.com/111605937 password: facaquecorta

Dual-phase Photography measured 1.90cm high by 1.20cm wide, wrapped in a transparent plastic bag and hanging from the ceiling.

One hand of the photograph shows a collage of images of people who are inside plastic packages and the other side displays Monroy’s inside a package along with a descriptive and chronological narrative of the images that are part of the collage printed on the opposite side of photography. The piece proposes a re-formatic, historical and critical reading of pieces in art history and gestures of everyday life that for different reasons made use of performatic package from 1965 to the present days.

Video 6 min, 02 sec.

While the artist dances in the same way passistas of samba school does, a text is projected over the wall and his body emulating a moving runaway. The text broadcast several journal headlines collected since the announcement of the realization of the FIFA Soccer World Cup in Brazil on 2014.

The projected text shows all kinds of news, from abuses done by the organization and the police before the event to absurd happenings that demonstrate the lack of social and political infrastructure of the country. As the samba became faster and dancing grows to a more energetic and vigorous rhythm, several substances used by the people on celebration of

artist forming a sloppy and dirty mud, typically found in Brazilian cities after a carnival parade passes over the street.

https://vimeo.com/111713218 password: malandro

Video 4 min 48 sec

Filmed at Avenida Paulista in Sao Paulo, the video begins showing the performative action of a recognized street occupant who regularly placed himself on a platform and dance by himself apparently listening to and old Walkman to which only he has access. After a few minutes of video pass the artist enters the frame standing on a platform that is exactly behind the occupant and begins to imitate the gestures and dance the renowned inhabitant is performing.

When the movements of the occupant and the artist come to be close and coordinated the video speed

link between the bodies are maintain. Once the inhabitant realizes that he had been being imitated he expulses the artist aggressively, sentencing: the stars are dangerous ... always dangerous.

https://vimeo.com/117190363 password: dangered

After getting negative answers to a series of simple requests done to the Museum of Contemporary Art MAC

Monroy’s masters degree Thoughts on Re-formance, consequently forcing him to waive his right as a USP student to use the space of the institution, was done this pseudo-rebellion photo series. The sequence of images broadcast Monroy making an audacious striptease in a security blind spot inside the museum, where neither the cameras nor the guards manage to detect him or the action that took place.

The work, produced subversively inside the museum, was made in order to undermine the prohibitions and restrictions of the institution and to humorously point to the little space permissiveness in which contemporary art system has come to fall. Despite such noble intentions, none of the actual actions clearly violated the security or status quou of the institution because the artist made himself fully invisible.

BLIND SPOT OR DECLARATION OF LOVE TO WHOEVER IS THE MAC’S DIRECTOR

Registering of youthful rebellion inside the MAC.

Copy Print over paper.

Re-formance. 2 hours approx.

Three people blind folded serve as supports of which reveals allegorically three different subterfuge discourses of contemporary art. The institution, in red, says: “Especially since I’m too old to support youth rebellion”. The market, in gold, exclaims: “Wow! And your mother does not give you the ticket? A Personal support”.

carries the weight of eleven years of international career and resume my life project”.

master degree programs in Brazilian public institutions, were dressed in white shirts printed with white corporate logos of real estate projects renowned for its arts-related names at Vila Madalena district. The re-formance, that emulates the form in which real state projects are advertised in the city of São Paulo, was carried out in the same neighborhood where the real state project are for a period of two hours.

FLAG HOLDER OR MASTERS SHUTS

Six wood boxes contain six photographs of the semiprecious gems. The images are only possito the other end of the boxes. Such lens ends up changing the perception of the distance at which the images are really placed, making believe that the pictures are meters away despite the small size of each box. To view images the viewer must squat to a low height in which the boxes are consciously placed.

Video 9 min 14 sec

The ironic, critical and pseudo rebellious nais repeated in this video shot in Academicals Support Center at MAC. A long shot shows the empty space till one employee of the institutions enters the space, after that the sethe space, because it should never be opened even thought there is void space. This video takes the angle of a surveillance camera, recording the empty space in all its indifference order. If at the photo images of the Blind spot the artist tried to evade the surveillance camera in this video he takes the position stand by the control system.

SOLO PERFORMANCE

THE ARTIST’S SPEED DATE

Galeria Jacqueline Martins. Le Lobe. Grace Exhibition Space.

The performance works as a speed date with the artist. People who wants to participate are welcome by a waiter, who gives them a label to write their name and a number that will be use to called each spectator to participate. Once the person is called is received by the artist who invite to going him on a table arranged for the occasion. After a brief conversation, Monroy ask the person to choose one of the cards that are face down on the table, telling that such action “may help he/she to know him a little better.”

All cards are printed with the phrase Hi I’m ________________ and they have written different artist names from the global performance art scenario. These names serve Monroy as artistic and behavioral references to be incorporated instantly. After the choice is made Monroy endeavors to perform, only for the one who is sited in front of him, an action that a la maniere of the reference artist on the card will try to seduce and captivate the viewer. Every action has duration of three minutes timed by the waiter. At the end of the event Monroy choose the person he have more fun with to go out on date with him.

The performatic Quickie has been presented four times:

2013 Gallery Jacqueline Martins. SP, Brazil.

2012 Le lobe. Chicoutimi, Canada.

2012 Grace Exhibition Space. NYC. USA ..

397. Studio 2011 SP, Brazil.

Re-formance. Duration approx. 2 hours

Aesthethics of desires was planned departing from a subtle connection made between the Spanish custom of asking whishes while eating twelve grapes at twelve o’clock in new year eve and the training given to people who offered them selves as drug mules

grapes to prepare the pharynx before loading the stomach with drugs.

tors are welcomed by the artist with streamers, hats, whistles and Colombian new years music as background. In the Isa is also present, Monroy’s personal friend who has come through a transformation of sex-

chain serving as the bait drug mule with 60 capsules of cocaine in her stomach on a travel between Brazil and Germany. Once viewers get in the space Monroy explains the Hispanic tradition of the grapes and talks with the viewers about the things they do before the clock turns to 12. After the clock hit 12 and

to eat a grape making a wish. Once everyone ends Monroy climbs on a balance reporting his weight to the audience and begins swallowing grapes without chewing. While Monroy swallows grapes, Isa tease the viewers to have conversations about bitter experience and “swallowed toads” all spectators who participate has trough life. The whole situation leads to a point where Isa can tell her story as bait mule, victim of a repressive society and as a transsexual woman in constant change. The experience also aids to Carlos and the viewers to share their unpleasant social, sexual and psychological experiences.

At the end of the action Monroy passes trough a second weighting, given the new number of gain weight as symbol of the weight of the wishes swallowed as capsule or grapes.

-

Re-formance in duo with Isa Monteiro during the Hemisferic envounter in 2013.

Based on the Installation One and three chairs (1965), emblematic work of conceptualism which

understanding of the world; and in search for newoped since 2003, was created Mr. Kosuth, What would you do?

The performance-installation begins in the same way as Kosuth’s piece with the difference that thisformance. So along the wall three elements are dis-

formance from the Cambridge Dictionary, a life size photography of the artist sitting in a chair and the artist (in person) sitting in space in the same chair of the photo. In front of each of these elements are

several texts in art, economics, biology and other that registering actions performed by the artist for the past 30 years; and a list of 15 different actions that could be performed by the artist. During the exhibit the audience could play with the installation at their will, changing the display by choosing any

asking the artist to changed the action he was performed by any of the other 15 options.

The performance works as slot machine or jackpot

performance as a word, as image and as live action constantly. The performance duration was of 20 days with periods of eight hours performed daily.

Monroy’s Performance Art Services series

planned in a way that any of them could be continuously performed. This condition of total absence of public the last requestuntil more public arrived or until the day of performatic work ended; and the secondtext and time.

Additionally each of these actions and behaviors were thought to be relatively effective tactics to get naked humanly, socially, artistically, personally and literally speaking in front of the spectators.

Monroy’s

THE ARTIST GESTURE

On this piece the artist is place next to a card that shows the work’s data and a telephone number at which viewers can communicate in case they wish to have more information about the action that the artist is performing.

Once the viewers have called they were answered by a telemarketing operator who gave them the opportunity to choose between two text that they could hear. Both texts, one written by the Colombian curator and critic Julian Serna and the other by the Brazilian critic Fernando Martins, explained with and educational, informative and theoretical tone that the action done by Monroy is the contraction of the sphincter with a certain cadence and regularity. Both texts persuade the viewer with reasons to understand such action as clear and forceful artistic gesture. The call ends with the operator given an estimate of the number of times the artist has contracted sphincter from the the call.

The exercise of contraction of sphincters, based on the exercises for performers made by the theorist and critic Richard Schechner and more popularly recognized as a Tantric sexual practice, when pushed to prolonged periods of time causes notorious physical reaction in which the body takes conscience on their own detaching for the will of mind. The bodies new logic makes the performer experience hyperventilation, orgasms and panic attacks simultaneously, situation that can be witnessed by the more patients spectators.

https://vimeo.com/113572760 password: hardorgasm

Série Monroy’s Performance Art Services

A TÊTE-À-TÊTE FOR TWO PERFORMANCE WITH BENJAMIN LUNDBERG 2013

Performance. Duration approx. 7 min 50 s

In collaboration with the Colombian born artist Benjamin Lundberg, adopted and naturalized as an American citizen when he was a baby, the duo the same Colombian was created. Together we seek ways to teach each other forms, modes and ideals on how to be Colombian, to dismantle our

In Tête-è-tête we use the popular Colombian dance rhythm choque as an

what we perceive to be the ambiguous and violent reality of our country, territory that Lundberg hasn’t known yet. We found in choque dancing the

impact of two bodies colliding violently, carrying on one cultural product its most loved and odious clichés, generating and maintaining a tropical hatred image for its self-constructed ego.

the whole exhibit space with its aroma, we dance choque using the constant impact and the improvised steps as resources to help and support each other in the task to undress, swap and dress again our clothes. The clothes are not by mistake completely identical, indicating the pointlessness of the action itself. Each hit bass of the music hit a word is projected over our bodies and consequently on the back wall. These words are taken from two different speeches about Colombia reality: one of the country’s violent reality, commonly sold by the media abroad, and another on the Colombian idyllic and perfect tropical paradise vision sold by the government to its citizens. The speeches, which contradict each other, are impossible to be read in its entirety due to the speed of the projection and interference of our bodies dancing and colliding with each other. Once the coffee its brew we share the cup without leaving the violent clash between us.

Tête-à-tête for two was presented twice 2012 in New York at the Teatro La Mama 2013 in São Paulo at Escuela SP de Teatro.

https://vimeo.com/48500965 No password

LE ARRIVISTE, LE ROYALE ET LE PÉRIPATÉTICIENNE

Developing the idea of what would be the minimum action necessary to be done by a performer, were created three different entrances made

to enter the space and the last person to leave closing the door. Besides the entrances Monroy use this opportunity to deliver a statement about the nature of the performance art practice. The statements were created in relation to the way he had come to enter the space. After concluding

spectator.

accompanied by the song Chariots of Fire and wearing the number Arrivist 84. After receiv-

thanked stating: Performance art born on expectations that public has about the artist, but it is supported, relays and dies on the expectations that the artist has on the public.

https://vimeo.com/114172322 No password

LE ARRIVISTE Interludes to reality

On the second day Monroy entered the space as Québec’s population about the loyalty Canadian government holds to the British royalty, the artist get inside the space crossing a red carpet accompanied by the sound of fake trumpets and royal court preceded by the curator. While Monroy cross the carpet a broadcaster presented a brief state at the French Dictionary from the word speculation to the word show.

https://vimeo.com/114172322 No password

LE ROYALE Interludes to reality

the inside of a cardboard cake with the sound of I’m too sexy for my shirt at the background and wearing only skeleton shirt, suspenders, underwear and boots. During the appearance Monroy tore his shirt leaving the public to see a text written on his chest that states: Performance art is coitus interruptus it cum only after theatricality transshipped. It is also state at his back: Personal Performance U$ 5.99. Political opinion for free. On this day Monroy perform as erotic go-go dancer for each of the spectators while the pauses between other artist performances were having place.

https://vimeo.com/114172322 No password

LE PÉRIPATÉTICIENNE Interludes to reality

Solo Performance. Approx. 45 min

Made during the exhibition of ending of the residence Ateliê Aberto # 5 at the Casa Tomada SP, Brazil.

of contemporary performance, Monroy do interventions that question the veracity and impossibility of such nudity in public. On these series the artist gives more importance to the process emphasizing the forms, actions and behaviors need-

mance Art is about Nudity inhibits the shocking, dispersive and impressive capacity that nakedness could have, shading it with excessive or too complicated tasks to get into the naked point.

In Ego(s)trip the artist performs a striptease for the crowd in which several layers of clothing, consisting of about 25 shirts and 30 underwears are sensually taken off. Each of these clothes items has stamped one or two words that Monroy con-

the adjectives prints are: warlock, amateur, snob, blasé, artist of the moment, horny, sassy, too Latin American, opportunistic, poor attraction, wasteful, idiot, starving, without shame, swindler, empty, pothead and male whore.

https://vimeo.com/114062189 No password

Performance Art is about nudity Series 2011

Solo Performance. Duration Approx. 10 minutes

In this performance the artist do a second striptease for the audience. While playing Chega mais chega of the Brazilian singer Rita Lee, Monroy removed his underwear, socks, laces and t-shirt without removing outer clothing like jacket or help from the viewers to pull his briefs and socks without tearing them apart or taking out his pants, trying to avoid as much as possible get completely naked. At the end Monroy shows the viewers that his underwear is printed with the word art(é)fato – art(is)fact) – and installs the clothing he has taken out on the surface where the action was performed, leaving them as traces of the event. During the performance the artist tries to continually recite the Tiago Cardoso’s poem art(é)fato.

Arte(é)Fato

Discordãncias, fazer, expressão vontade, potencia, ressonãncia

O fato Ressoa

Transita entre mundos Quanta arte o fato tem? Ter, tem, tinha. o fato da arte não é fato a arte no fato é casual pensar o fato não é arte pensar arte não é arte pensar é pensar fato é fato arte é. (arte)

https://vimeo.com/34800453

No password

Video in Stop Motion 4 min 07 s

Dancing a merengue version of Michael Jackson’s Beat It, Monroy makes a last endless striptease of underwear. Approximately 70 briefs and panties are removed from the artist’s body in a continuousdition that avoid the artist total nakedness in front that took place at the Instituto Tomie Ohtake in São Paulo City on 2014.

https://vimeo.com/108752723

No password

Performance art for Dummies. Lessons 1 to 7.

After some theoretical and practical disagreements with a group of artists from Latin America with which Monroy travel around Europe, he decided to perform punishing himself and remaining silent for the great clichés of performance art. The actions referred in this work, are often used by performance artists and have turn out to be unquestionable, dogmatic and irascible principles, limiting performance art conception today. Such clichés generates a transcendental, symbol-

the approach and reading for spectators.

Thus, during the festival BLOW7! The artist draws six different areas of performance in which he punish himself making with chalk an -

ly punishing himself by remaining silent wearing a dummy hat and facing the wall for one hour. While punishing himself Monroy was performing the cliché pointed at each one of the correctives

ed to create another performance area leaving instructions on what to do to the viewers who want to perform the action in his absence. The six lessons that were carried out were:

1. should not wear in black to do a performance art piece. 2. I should not wear in white to do a performance art piece. 3. I should not dress as a woman or in single color to do a performance piece. 4. I should not get naked to do a performance art piece. 5. I should not use personal or cryptic symbols to do a performance art piece. 6. should not require interactivity to the audience during a performance art piece.

tival, Monroy stood up in his chair and read the performance wrote for the occasion.

Installation with instructions

During the solo exhibition Monroy’s living cliche since 1984 viewers could participate in a interactive installation part of the Performance Art for Dummies series. The viewers who wished could follow instructions in which they were asked to get naked – whatever that meant to each spectator – write on the blackboard the reason why he was punishing and penalized his own self looking at the wall in silent while wearing a dummies hat by the time deemed necessary for the self-pardon of such behavior.

Installation planned in 2010 and compleated in 2014 during the solo show Monroys Living cliche since 1984.

LA PERFORMOLA

From a menu composed by more of 200 performances art pieces, which were loan from other artists and performers friends, each viewer can select one to be completed immediately by Monroy accordingly to the

owner or author of each work. To select one of the performance the spectators must take a number out of a turn dispenser and when called by the artist could choose the performance of his/her preference out from a menu projected on one of the walls of the place where actions are performed.

All work on the menu has the authorization of each of its creators for use and presentation. Monroy try to be as faithful and strict as he can with the instructions and requests that each of the authors asked to be made during the action. Before starting any piece Monroy gives the proper credits out loud and publicly explain to the audience the conditions and situations in which the piece was ceded to him. The duration of the Performola depends on how much time the performer has to do it, being 8 continuous hours the minimum requirement to present the piece. According to the time the artist makes performative marathons executing actions request by the viewers, stopping only after the minimum o 8 hours or until any of the performance with a “warning sing” is made. This because there are some pieces that prevent the performer to continue after completion.

The last time the Perforbox was done lasted 5 days of 5 continuous hours each, making a total of 25 hours of performance in which Monroy made more than 70 different actions.

https://vimeo.com/113852234 https://vimeo.com/113852474 No passwords

A DIVA’S (HI)STORY

In 2006 the presidents of Brazil and the United States made political alliances and / or use -

vantage for their reelection. At the same time, the president of Colombia, Álvaro Uribe Vélez,tive aspiration their fellow president had. The behaviors of these three main heads of state ended up giving them additional periods of four years each, keeping them in power for two consecutive presidential terms, which produced a total of eight years of the same “progressive” “democratic” thoughts and / or “peacemake” political actions on these national territories. This political behavior creates what we now recognize as the phenomenon of re-election in the continent. Since it most Latin American countries entered the rise of reelection, which has spread to other political positions, such as senators and mayors. The most extreme example of the consequences of this

the government of Hugo Chavez, re-elected “cleanly” 3 times since 2000, remains in power after 14 consecutive years, now with Nicolas Maduro as Chavez’s predecessor.

In 2006 Marilyn Monroy performed three videos in which appears singing the happy birthday, the parabens and el cumpleaños in honor of the three presidents, celebrating their re-election, and just like her predecessor did, she was a little drunk. With this tribute Marilyn sends a kisses and dedicated, with all her love, these videos to the heads of state who make continuing the neoliberal (or not) itch of eight years.

https://vimeo.com/114171019 No password

Installation planned in 2007 and compleated in 2014 during the solo show Monroys Living cliche since 1984.

Interactive installation

During the solo show Monroy’s Living cliche since 1984 viewers could participate in this interactive installation of Marilyn Monroy series. People who wished could send a picture of their own self-wearing one of the three wigs, installed at the space, and re-forming his own version of Marilyn. Everyday the emailed photos were printed and add to the installation.

ONE AND THREE MARILYNS

Video Pastiche 4 min. 15 sec.

Marilyn Monroy features Aguilera, Bell, Bird, Evdoki, Glee, Hewitt, Hough, Katrina, Kidman, Minogue, Monroe, Madonna, Puccini Girls, Scherzinger, Serena, Sir. Elton John, Stanojkovska & Thalia. A breathtaking production made for SCOTOMA exhibition, sponsored and showed at the Ateliê 397 in 2014. The video reveals with carioca funk rhythm that boldness is girl’s best friend.

https://vimeo.com/117183252 password: ousadia

IS GIRL’S

Installation made in 2014 during the solo show Monroys Living cliche since 1984 BOLDNESS

Self portraits as Marilyn taken from 2006 to the date.

Series of 36 photographs and a video of 10 min 57 sec

The perfect family is the focus of any camera that is about to take a family portrait. This is why women choose her best dress and men combine allfect for the “cheese” moment, the child should stay still, the tie knot must be straight and the hairdressing impeccable styled.

The series shows the artist’s own family, composed by: his mother, sister, father, nephew, brother in law and himself, making a collective portrait in which they all progressively takes off their clothes. Saving the pose to each photo, the video shooting was made from a different angle of the room, revealing the process of making photos, loving and nurturing relationships between participants in the portrait.

https://vimeo.com/113649079 password: america

9 of the 36 photos from the shooting.

Amazonomquias. Paititi’s avengers. https://vimeo.com/user8698294/amazonomaquias

NOVUS ORBIS DÆMONIUM

https://vimeo.com/714333133

https://vimeo.com/user8698294/karl-eugen

https://vimeo.com/user8698294/maricasquitos

https://vimeo.com/user8698294/guillisage

https://vimeo.com/user8698294/majapadilha

https://vimeo.com/620135240?embedded=true&source=vimeo_logo&owner=14848802

https://vimeo.com/user8698294/cumbia-spanish

https://youtube.com/user/gontacenterfolds

https://vimeo.com/317323073 password: theelephantintheroom

https://vimeo.com/318009533 password: citelefant

Video Installation with cuts https://vimeo.com/254012697 password: newnation

Documentary LLorando se foi: Life and Work of Chico Oliveira. 60 min. Lenght https://vimeo.com/176225283 password: chicovive

Performance with grupo Kantuta. https://vimeo.com/254013568 pasword: lambamour

Ma Catumpi Jaquisinha or Reencounter. Kaoma Remake. https://vimeo.com/156566987 pasword: llorandochegou

https://vimeo.com/114171019 No password

Memories will be present... https://vimeo.com/244267264 pasword: fromboliviatotheworld

https://vimeo.com/111605937 password: facaquecorta

Vídeo Performance https://vimeo.com/111713218 password: malandro

Vídeo Performance https://vimeo.com/117190363 password: dangered https://vimeo.com/113572760 password: hardorgasm https://vimeo.com/48500965

https://vimeo.com/114172322

Ego(s)trip https://vimeo.com/114062189

Art(is)fact https://vimeo.com/34800453

#1 Beat the latin beat https://vimeo.com/108752723 https://vimeo.com/113852234

Verbo 08 https://vimeo.com/113852474

Video Performance https://vimeo.com/117183252 password: ousadia

Vídeo Performance https://vimeo.com/113649079 password: america

https://vimeo.com/117531840 password: re-formance