Márcio carvalhoartist

Marcio Carvalho is a Portuguese visual artist and an independent art curator based in Berlin since 2008. He holds a master degree in performing arts at HZT/UDK Berlin and a master degree in Visual Arts at ESAD in Portugal. He is the co-founder and curator of the performance art program CO-LAB editions, in Berlin. He is the curator from the 2nd Biennal of Performance (2015) in Lagos Nigeria. In the past he was founded the artist residence program Hotel25 in Berlin and initiated programs and festivals such as “The Powers of Art”, the first international TV Show dedicated to showcasing a crossing between performing arts and paranormal activity and Plot in Situ festival of Performance art in Berlin.

Bio

Carvalho’s practice for the last 3 years have been focused on memory and its influences upon collective groups and individual people. Science and human behavior, network sciences, appropriation and fiction are some concepts and forms used by the artist to research on autobiographical, collective and cultural memory, and its impact into social, cultural, political and economic contemporary life.

The multidisciplinary ability of crossing disciplines reframes his work in various formats such as live performance, film documentary, video art, photography and sculpture, always attempting specific relation with the context and site in which he is operating.

PErForMaNcEPErForMativitY

rEcoNsoliDa-tioN MachiNE

Reconsolidation Machine was an art and research project by the Neurologist and Neuroscientist Dr. Christoph Ploner and the artist and independent curator Márcio Carvalho. The project investigates how technologies and practices of remembering have been influencing individuals and groups to remember and/or forget past events; more specifically the ways by which individual or collective memory have been reconsolidated by biological, social or political memory disruptions.

Consolidation is a neurological process that involves gradually converting information from short-term memory into long-term

memory. Classical views proposed that once consolidated, memories are stable and resilient to disruption. However, this view has been challenged by the findings that established memories become labile when recalled and then require another phase of protein synthesis in order to be maintained. Therefore, it has been proposed that each time a memory is reactivated it again undergoes a process of stabilization, named reconsolidation.

The first phase of the project was presented at the We presented 3 confessional sculptures each one with 4 audio tracks (“confessions”) - a confession of a murderer,

Project collaboration between the neuroscientist Christoph Ploner and the artist Márcio Carvalho

Gemäldegalerie, Berlin, GermanyGiving Contours to Shadows Project

a excerpt from the movie I Confess from Hitchcock, a perspective of a psychiatrist on a confession of a sociopath and an exerpt of an interview of the famous HM patient. The aim was to challenge scientists to listen the audio tracks and to give feedback on questions such as: 1. Is guilt a memory problem? 2. Is confession a reconsolidation technique? 3. Is salvation a cerebral process?

The second phase of the project proposed to think about memory reconsolidation by combining the confessional as a ritualistic and religious object and Bruegel’s Topsy Turvy World painting, situated at the

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Photos1. 2. and 3. Performance, Gemäldegalerie4. Instalation, Congress Center Hamburg

Gemäldegalerie in Berlin. The act of confession exist in people’s everyday life, between friends, family, etc. Yet, religion ritualized confession, becoming a performative/narrative behavior, in which the person acknowledges thoughts or actions considered sinful or morally wrong within the confines of it’s own religion. The confessional can be considered a technology that gives a performative dimension to remembering and forgetting. Memories they don’t disappear through the action of confession. Instead they change. By designing the confessional, church created a way to re-consolidate the memories of a believer by erasing guilt and regret.

Bruegel’s Topsy Turvy World painting contains a literal illustration of idioms and aphorisms of 16th century Flemish life. There are approximately 112 identifiable proverbs and idioms in the scene, that were meant to illustrate human stupidity and foolishness; although Bruegel may have included others which cannot be determined. Ploner and Carvalho are interested in working with some of Bruegel’s illustrations of such proverbs, specially the ones that can be related to the exhibition concept of Giving Contours to Shadows exhibition and its will to “activate a long-term dialogue and discourse on

the possibilities of deliberating on history, pre-writing history and even sequestrate history”. One shears sheep, the other shears pigs; Shear them but do not skin them; What can smoke do to iron?; To always gnaw on a single bone; The die is cast; To look through one’s fingers or To confess to the Devil are some of the proverbs that Ploner and Carvalho are planning to work with.

5. and 6. 16 channel sound Instalation, Gemäldegalerie

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PowEr ovEr MEMorY - a casE stuDY

THE MEMORY IS A MUSCLE Review by Stacey Ho

In 1985, musician and scholar Clive Wearing contracts a virus that attacks his brain. In the decades following this neurological damage, Wearing perpetually ‘wakes up’ every seven to thirty seconds with no recollection of the previous moment.

Desperate to hold on to something, to gain some purchase, Clive started to keep a journal, first on scraps of paper, then in a notebook. But his journal entries consisted, essentially, of the statements “I am awake”

or “I am conscious,” entered again and again every few minutes. He would write: “2:10 P.M: This time properly awake. . . . 2:14 P.M: this time finally awake. . . . 2:35 P.M: this time completely awake,” along with negations of these statements: “At 9:40 P.M. I awoke for the first time, despite my previous claims.” This in turn was crossed out, followed by “I was fully conscious at 10:35 P.M., and awake for the first time in many, many weeks.” This in turn was cancelled out by the next entry.¹

Power Over Memory, a performance piece by Márcio Carvalho, imaginatively

Live Biennale, Vancouver, CanadaMaxim Gorki Theater, Berlin, Germany

considers Wearing’s state of amnesia and compares this to the case of John Rambo, star of First Blood, Rambo: First Blood Part II, Rambo III, and the most recent Rambo. Watching First Blood, we see that Rambo, like Wearing, has trouble with memory. Suffering from what looks to be a severe case of PTSD, he is trapped in his traumatic memories of the Vietnam War while being hunted in the film’s present setting of Hope, Washington. Though Rambo’s problems cannot be as easily linked to a physical ailment as in the case of Wearing, this is almost fitting, as Rambo himself is not really physical, real. He’s a fiction. The

questions brought up by comparing him, an imaginary figure, with a well-documented medical case not only draws analogies between kinds of memory and the nature of remembrance, but also asks how fictions such as cinema and media images act upon the mind. The resulting performance is a playful examination of memory, biology, history, fantasy, and politics, emphasizing the complexities that occur at the interstices of these subjects.

Memories seem intangible. However, Carvalho approaches the mind as matter, a brain that is a part of a body. Certainly,

Power Over Memory addresses the body, as this is the primary material of performance art. Less common, it also approaches the subject from the perspective of not only art, but also biological science: a field where what remains to be discovered lies largely in the mind. Borrowing from neurology to approach his chosen ‘case studies’, Power Over Memory specifically examines how memories are consolidated in the human brain through the hippocampus. Memory-making is presented as a physiological process happening within the body, real as the beating of the heart. Any disruption, as seen by Carvalho’s examples, produces

seemingly bizarre behaviors—amnesia, blood-soaked action-packed death rampages. These precarious connections between mind, body, and environment were already intuited by Henri Bergson in his 1896 publication of Matter and Memory.

If, moreover, we cast a glance at the minute structure of the nervous system as recent discoveries have revealed it to us, we see everywhere conducting lines, nowhere any centers. Threads placed end to end, of which the extremities probably touch when the current passes: this is all that is seen. And perhaps this is all there is, if it is true

that the body is only a place of meeting and transfer, where stimulations received result in movements accomplished, as we have supposed it to be throughout this work. But these threads, which receive disturbances or stimulations from the external world and return them to it in the form of appropriate reactions, these threads so beautifully stretched from the periphery to the periphery, are just what ensure by the solidity of these connections and the precision of their interweaving the sensori-motor equilibrium of the body, that is to say, its adaptation to the present circumstances. Relax this tension or destroy this equilibrium: everything happens as if attention detached itself from life. Dreams and insanity appear to be little else than this.²

From this same text, Bergson describes two kinds of memory, juxtaposing “true memory” with memory that is “fixed in the organism”. For some reason, this latter form of memory is of less interest to Bergson. “Habit rather than memory, it acts on our past experience, but does not call up its image.”³ Formally, this ‘habit’ could today be termed non-declarative or procedural memory and despite their difficulties with memory consolidation, both Wearing and Rambo appear to retain robust and functional non-declarative memories. Riding a bike, speaking a language, adding and subtracting numbers—non-declarative memory runs deep and plays out unconsciously. Clive Wearing still plays the piano. Rambo can still take out a helicopter. Although they have no memory of the present, both figures still draw upon their habituated knowledge, realized not in their consciousnesses, but in their actions. This, perhaps, is the secret to Power Over Memory. As a performance, it illuminates not through discourse, but actions. The immediacy of doing, of movements, gestures, and actions, engages us with the present even when the experiences and perceptions associated with “true memory” are lost.

In Power Over Memory, Carvalho reenacts the games of boyhood. Wielding a toy gun, he shoots at video game caricatures projected on the wall—interchangeable terrorists, Communists, aliens, Indians, Jews. “Shoot me.” He hands someone the gun. It chirps and flashes, and Carvalho flails and falls, faking death. Despite the underlying violence of these familiar motions, the gut reaction is laughter. Through play, notions of war are taught and embodied, shift from tragic to joyful,

are entwined with the construction of masculinity. This is the stuff of earliest memory, ingrained at the level of the non-declarative, the unconscious. Carvalho plays hero, diving across the room to save a gang of stuffed animals as a battlefield of firecrackers pop around him. Army figurines, teddy bears, wind-up dolls, waterballoons. That toy gun. Such ephemera persists within us by colouring the imagination. Ultimately, the violence latent in this playfulness is revived and perpetuated in the new myths and artifacts that we desire, dream, envision, and create.

In his book The Head Trip, Jeff Warren sketches out several theories on the function of dreams, which include memory consolidation, emotional processing, and prepping the brain for wakefulness.⁴ Another idea is that dreaming is an evolutionary tactic developed to rehearse fight-or-flight survival skills. Called threat simulation theory, it is partially based on observations of the theta rhythm, a neural oscillation with a frequency of 4–7 Hz, as it relates to sleep. Theta rhythms occur during behaviors that are crucial to survival and its elimination in test subjects results in severe long-term memory deficits. Theoretically, as theta rhythms spike during REM sleep, nightmares of fleeing monsters and battling bad guys are stored as lessons in our non-declarative memory. Warren posits that Hollywood movies such as Rambo, with their “mad kinetic action and chase scenes and slathering monsters”, are modern manifestations of these primal fantasies. The appeal is universal, biologically ingrained into our will to live.

Pondering the state of dreaming, Warren writes,

In dreaming we seem unable to access certain important components of waking memory—we may have access to certain content details from waking, but we have forgotten the context. This gives rise to what is probably the primary common characteristic of dream thinking: our utter credulity […] We are capable of thinking and making decisions, but there is a shallow single-mindedness to our cognitive capacities.⁵

Going by this description, the lived experiences of Clive Wearing and Rambo seem dream-like, inhabiting a context-less state as described by Warren. They either cannot draw on their memories or are consumed by them, and are thus unable to adequately address what is

happening in the moment. Likewise our capacity to collectively contextualize the crippling number of threats, minutia, and catastrophes that make up the present is analogous to Warren’s conception of dreaming. Unable to access and shape our shared memory, history is instead determined by power and by production—the forces that control the dreams of cinema, the materials of childhood. The question becomes how to awaken, how to consciously shape our collective memories and maneuver them back into the hands of the sleepers.

More thoughts on action and memory: Agamben writes on how the invention of cinema taught the European bourgeoisie how to move. Implied in this shift in movement was a irrevocable change in the way that bodies function and relate to one another. A darkened room, a moving image, and a soundtrack work together to absorb the viewer, affecting them on a basic level that is not just cognitive, but also unconscious, physical, and emotive. Film is the “dream of a gesture”, another way of describing movie magic.⁶ The stories told through mass media affect the body, and through the body, memory. While previously, my memories would have consisted of direct experiences of say, my home and family, now more than ever, my memories are shared with others, taught by a lexicon of commodified images. Movies become as much a part of our history as real events. Fictions slowly merge into belief. Democratically, alarmingly, the body remembers all experiences in the same way, whether they be truth or construct.

First Blood was shot in Hope, a small town of six thousand found not in the state of Washington, but rather the province of British Columbia. The popularity of the Rambo movies made the series an emblem of the town’s identity as well as a resource for its modest tourist industry. Gracing the opening scenes of First Blood, the Kawkawa Bridge, informally known as Rambo Bridge, was the pinnacle of this hometown pride. In 2011, the bridge was demolished to much protest and fanfare, with locals, fans, and minor celebrities gathering to observe the demise of this landmark with a BBQ, limited-edition t-shirts, and a John Rambo look-alike contest. Children, grandmothers, and even dogs came to the event, dressed with bandanas, machetes, and mullets of black hair. This curious incident hints at how even though Rambo is make-believe, even when the bridge that spuriously links the fiction of that film to the material

world is destroyed, his memory, fixed in the bodies of movie-goers, propagates into reality. I imagine this memory working on the body, manifesting into its own animal. Half-real, half-fantasy, this new beast gestates, mutates, and multiplies until there is an army of John Rambo look-alikes wandering the forests of British Columbia, Washington state, creeping guerrilla-style along the threads of our nervous system. A renegade thought virus, intent on hijacking our dreams to infiltrate reality.

Two unsettling moments in Power Over Memory exemplify the problematic relationship between memory and

experience. Carvalho holds a camera up in the air and masks the lens with his hands. Snapping two Polaroid pictures, he presses the photographs over his eyes. A blank image of the past clings precariously to his face, blinding his body as it stands in the present. An equivalent to this gesture is projected on a wall: Clive Wearing is being pressed to describe the experience of his unique state of amnesia. “I have nothing to say about it. It’s like death. No thoughts, nothing. No dreams, nothing at all.” Wearing stares into the air with an expression of utter bafflement. The photographs fall from Márcio’s eyes to the floor.

1. Sacks, Oliver. “The Abyss.” The New Yorker September 2007: 110-112.2. Bergson, Henri. Matter and Memory. New York: Zone Books, 1991. 173.3. Ibid., 151.4. Warren, Jeff. The Head Trip. New York: Random House Canada, 2007. 107.5. Ibid., 104.6. Agamben, Giorgio. “Notes on Gesture.” Means Without End: Notes on Politics. University of Minnesota Press, 2000. 55.

rEPlaciNg thE iNvisiBlE

Review by Robert Moeller

The acquisition or gradual gathering of somethingA word pulled apart, doesn’t fall to the ground but rather it seems, becomes a score. A series of musical notes to be struck by the tongue and sent out into the world before disappearing just as quickly. A word is ephemeral, a wholly disinterested and unbiased witness to our struggles. Even the actions that words describe in our head flutter quickly on an electrical pulse before being replaced. Words are a constant stream and constantly leaving us. The trace elements that remain as this process takes place are our feelings and thoughts. We are sculpted by an onslaught of information, moved, repulsed; but most often, simply

overwhelmed. Language is the basis for our troubles. It signifies, underlines, falsifies and represents. It sends bodies into motion and fills those bodies with ideas. Words also ground us, leaving only quiet in their wake. They fill everything and leave only traces of things, memories, or memories of objects or simply the objects themselves. Everything begins with words and the accumulation of words and actions.Fragments…These fragments all contain information, even dormant information that is simply waiting to be reconfigured and used again. All objects have a history built into them. And that history fires the imagination in a continuing process that edits, reformats and distills what’s come before. “Like a piece of ice on a hot stove the

Boston University’s 808 Gallery, Boston, United States

poem must ride on its own melting” is how the poet Robert Frost described the inner mechanics of a poem’s workings. What Frost described so elegantly casts an echo directly through the work of Shannon Cochrane and Marcio Carvalho. The hot stove, in this case, are the things left behind by other artists from previous performances. The melting, as it were, consists of the two artists immersing themselves in the detritus of a used-up environment and reanimating it fully.Using a janitor’s cart to casually lead a processional much like a ritualized “Stations of the Cross” the artists circle the gallery space with a deliberate spontaneity in which their actions become the “thing”. Collecting the collection, the artists recontextualize everything in their

Project collaboration between the artists Shannon Cochrane and Márcio Carvalho

path; scrubbing, replacing, hiding and transforming the objects they find. They are also “scrubbing out” the meaning of things they encounter and rebranding the work that has accumulated.The cart they use is part altar, part carnival wagon. It also has its practical purposes as a means of transport and utilitarian device. It, too, grounds them in the space simply by being there and carries their things. It is a tool and a companion, a bit player without a line of script but a clear and calculating presence. It can’t be ignored. It also carries a ladder with leads the artists up and out of the gallery space, up high where window ledges can conceal objects and the space is stretched even further. Interestingly, the large windows of Gallery 808 allow people passing by on the street to stop and watch

the performance as it unfolds, again adding another level of depth to the field the artists work in. The windows, big as movie screens, are portals to the outside world that broaden the “experience” while at the same time sheltering it from an unorganized outside presence. Here, everything is catalogued and reset.At root, the performance has an anarchist bent to it. It is questioning and yet abstract. It removes to expand. It archives to erase. Cochrane Carvalho are both collaborators and collaborationists. They work together to disassemble the relics of other works before storing them so that the work can begin again. They work within the curated idea of accumulation while at the same time seek to undermine it as well. The storeroom behind the gallery acts as the epicenter of

their work. It is “behind the scenes” and out of view. It is a restricted place, secondary but essential. It is a “storeroom” after all, an archive of “randomness” yet it is central to function and a natural beginning and ending to any process involving the harvesting of ideas and objects.Acting as stewards of an idea within the larger framework of other artists doing the same thing, Cochrane Carvalho interact with what had come before; deliberating, improvising, and reassembling both the gallery space and an archive of relics from previous performances. The conversation they hold is mainly directed at the other artists involved with the project. Luckily, the dialogue they share, built on gesture and action, was hardly private but rather expansive and open.

iPac1st International Performance Art Convention

Curated by artists, IPAC was performed by curators; and was envisioned as a convention disguised as a performance and a performance in the guise of a convention. Collapsing all of the typical strategies of a convention or conference (introduction, lecture, exchange, feedback), IPAC was conceived as singular event that attempted to research and discuss patterns and problematics shared by performance art practitioners.

Shannon Cochrane and Márcio Carvalho’s collaborative work often employs an over arching structural format to create works that deeply investigate performance art

practice and discourse, and the creation of meaning through live action; the practice that we all share every time we gather to make or present a performance, and the conversations we are often not having as a community.

ITINERARY of the 1st International Performance Art Convention (IPAC)

1. Doors open at 7pm: Registration (Main Hall)2. Words of Welcome / Introduction of Bloggers (Room 2)

GlogauAir Artist-in.Residence Program, Berlin, Germany

3. Curator’s Talk 1: Address by Márcio Carvalho (Room 1)4. Curator’s Talk 2: Address by Shannon Cochrane (Room 3)5. Seminar 1: Documentation: Exhibit A (Room 2) + Exhibit B (Room 1)6. Seminar 2: On Materials and Meaning (Room 2)7. Seminar 3: The Praxis of Archiving (Room 2) 8. Seminar 4: Collaboration (concurrent sessions; Room 1 and Room 2)9. Final Session: Blogger’s Presentation / Open Discussion (Room 2)

Project collaboration between the artists Shannon Cochrane and Márcio Carvalho

how to EscaPE FroM historY

How To Escape From History was a performance that tried to deal with Édouard Glissant comment on the ways history is produced and teached to us as a collective: “History (with a capital H) ends where the histories of those peoples once reputed to be without history come together. History is a highly functional fantasy of the West, originating at precisely that time when it alone ‘made’ the history of the world.”

The performance was made in the old prison of Bergen, bringing together individual and collective memory through autobiographical events, my grandmother memories and tstories of my family while living in angola since 1 century.

Bergen Performance Art Festival, Bergen, Norway

ProjEct sEriEs

ohNE rauM

Before I visit a new city I always research its monuments. Statues are mnemonic signs, embedded in our landscapes to remember specific events in history. Who are the responsible for choosing who or what we should remember? are we involved in those decisions? Is history made by us all or is a project conceived by certain individuals and groups named as memory makers?

By hanging myself upon different kinds of statues, dressed normally, as a tourist or with costumes, I try to occupy the place of that monument and question the time that passes through body biological and

sculpture bodies.

The figures 2, 3 and 4 are a good example of time passing. I hang my body over a Christ sculpture I found in Berlin. I did it in different seasons - Winter, Autumn, Summer and it is missing spring. My body got older, changed its closes adapting to the weather conditions; while the statue is intact. The work pin points the fact that time passes through our biological bodies until the day we die; while the statue is made to last forever, together with its social/political/religious objective of influencing different generations.

Photographic series

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NEar-DEathExPEriENcE

Near-Death Experienec is a photographic and video series that uses the human body has surface to resurrect “death” objects. The photos and video still I present here are masks from a Ethnographic Museum.

Keywords:Analogies between individual and collective memory. Power over memory. Memory Makers. Who decides the history of people?

1,2,3,4 - Pictures5, 6 - Video

Photographic seriesVideo series

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thE Era oF iN-voluNtarY MEMorY

Digital print on founded picturesDimensions Variable

Photographic series

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thE PErForMa-tivitY oF PErFor-MaNcE Docu-MENtatioN

The Performativity of Performance Documentation project was inspired by Philip Auslander essay that have the same title. It refers to the moment in which performance documentation becomes authonomous. Echoing professor Helen Gilbert the fact that these documents are immediately connected to the real world “allows them to be treated as a piece of the real world, then as a substitute for it.”

I create fictional performances by spreading pictures of it in different social midias. The performance exist only as documents.

What forms of hope we project into documents? What do we learn from them? What forms of performativity exist beyond the actual thing we call performance?

Photographic series

Title: “It is impossible to determine whether or not you are moving unless you can look at another object”Some remarks on gravity and memory.

Performance at TCCA (Temporary Centre for Contemporary Art, Queens, N.Y.)

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Title: Another Romantic StoryNational Museum of Ethnology, Leiden, The Netherlands

5 scales of brown narrated by the artist

1. Audience was invited to be in front of the National Museum of Ethnology main door. A small air drone carrying a camera contours the building. At the same time it reaches the building facade I come out from the front door riding a red horse.

2. The horse and I made 30 laps around the building, in high speed, carrying a small radio streaming a playlist of romantic songs out loud. The drone kept following us, filming everything from different angles.

3. After the 30 laps we stop in front of the main door. The horse was exhausted. I grab a bucket of water and with a brush I washed the red paint out of his body, leaving a red puddle behind.

Photographic series

4. I tied the horse to a large tree. Four man, each one holding an ax, arrive at the scene and cut the tree down. It took 15 minutes.

5. One dead tree, a light brown horse and a red puddle were left alone at the scene, with a playlist of romantic songs playing in the background. The video made by the air drone was donated to the Archive for Immaterial Art, at the Museum of Contemporary Art in Leiden, with the title: Another Romatic Story

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EDUCATION

Feb 2011 - Mar 2013Master Degree – SODA Performing Arts UDK/HZT, Berlin, Germany

Sep 2004 - Jun 2006Master Degree – Visual Arts University of art and design (ESAD) Caldas da Rainha, Portugal

Sep 2001 - Jun 2003Bachelor Degree – Visual Arts University of art and design (ESAD) Caldas da Rainha, Portugal

GRANTS & RESIDENCIES

2014Calouste Gulbenkian Foundation, Lisbon, PortugalBBK Studio Space Grant

2013Calouste Gulbenkian Foundation, Lisbon, Portugal

2012RAVY Biennial, Yaoundé, CameroonHAU - Hebbel am Ufer, Berlin, Germany

2010Buda Kunstcentrum, Kortrijk, Belgium Project Arts Centre, Dublin, IrelandMousonturm, Frankfurt Main, Germany

2009INOV Arte, DG Artes, Lisbon, PortugalE.R.M. Wittemberg, Germany

2008Avan’t Rue, Paris, France

cvWORK (selection)

2014

Individual Exhibition and performance, GEMÄLDEGALERIE, part of Giving Contours to Shadows project by NBK and Savvy Contemporary, Berlin, Germany

Giving Contours to Shadows, Maxim Gorki Theater, Berlin, Germany

ACCUMULATION project, Boston University’s 808 Gallery, Boston, United States

Organization for Human Brain Mapping Annual Congress, CCH - Congress Center Hamburg, Germany

THE BODIES WE TELL - Collective exhibition, National Gallery for Contemporary Art Yaoundé, Cameroon

Bergen International Performance Festival, Bergen, Norway

LIVE ACTION GÖTEBORG Festival, Gothenburg, Sweden

Live Art for Born Festival, Copenhagen, Denmark

2013

Miami Performance International Festival, Miami Beach, United States

Uprooted/Fake Nations Festival, Helsinki, Finland

LIVE Bienale of Performance Art, Vancouver, Canada

Intermedia Festival, Gdansk, Poland

Artist in Residence, Palácio das Artes, Porto, Portugal

Rapid Pulse Festival, Chicago, US

Point in Time Collective Exhibition, Aqua Carré, Berlin, Germany

Collective exhibition, Time to Pretend, Harare, Zimbabwe

2012

7a11d festival of performance art, Toronto, Canada

The Pornography of Everyday Life, 7th Berlin Biennial, Berlin, Germany

X-Choreographers, Tanz im August, Berlin, Germany

RAVY Biennial - Rencontres d’Arts Visuels de Youndé, Cameroon

Blauverschiebung 5, Kub Galerie, Leipzig, Germany

Paersche, performance art event, Cologne/Bonn, Germany

Extension Extra, Kunsthalle am Hamburger Platz, Berlin, Germany

Go West Festival, Frankfurt, Germany

2011

Nomadic Settlers, Kunstlerhaus Bethania, Berlin, Germany

Infraction Festival, Sete, France

Kontrapunkt Festival, Szczecin, Poland

24h Festival, Szczecin, Poland

Infraction festival, Venice, Italy Colab Editions 3, Savvy Contemporary, Berlin, Germany

Blauverschiebung 4, Kub Galerie, Leipzig, Germany

Oh My god, Gallery 5 people, Berlin, Germany

Performer Stammtisch, Berlin, Germany

From me to you Festival, Berlin, Germany Verão Azul Festival, CCL, Lagos, Portugal

2010

Project Brand New, Project Arts Centre, Dublin, Ireland Home Sweet Home Festival, Werkstatt der Kulturen, Berlin, Germany

ExtensionSeries 5, Grimmuseum, Berlin, Germany Appointment, Performance project with the collaboration of Yingmei Duan, Hotel25, Berlin, Germany

M5-Differential Festival, Galerie Nord, Berlin, Germany

Plot in Situ Festival, Acud Theater, Berlin, Germany Men Only, Kunst Fabrik, Berlin, Germany ‘The Powers of Art’, Alex TV, Berlin, Germany

CURATING

2012 - 2016

WHILE MOVING FORWARD ON TIMEFilm Documentary http://whilemovingforwardontime.blogspot.de/

2014

Colab Editions – The Publication, Retrospective and book launch – supported by FRAME Finland, OCA Norway, Embassy of Norway Berlin and Pro Helvetia Switzerland, Savvy Contemporary, Berlin, Germany

IPAC – International Performance Art Convention, Glogauair artist-in-residence program, Berlin, Germany

2012

Colab Editions 7:Mind Pirates galleryInvited artists: Olivier Foukua (Cameroon), Mark Patrick Tchambou (Cameroon), Nathalie Bikoro (Gabon), Willem Wilhelmus (Netherlands)

Colab Editions 8:Freies Museum, BerlinLeena Kela (Finland), Tomasz Szrama (Poland), Juha Valkeapää (Finland), Kimmo Modig (Finland)

Colab Editions 9 and 10:SAVVY Contemporary, BerlinJacques Van Poppel (Netherlands), Ieke Trinks (Netherlands), Jelili Atiku (Nigeria) and Lan Hungh (Taiwan)

TV Show, The Powers of Art 3 and 4, ALEX TV, Berlin

2011

Colab Editions 1-6:SAVVY Contemporary, BerlinInvited artists: Alastair Maclennan (Scotland), Nezaket Ekici (Turkey), Kurt Johannessen (Norway), Ruth Feukoua (Cameroon), Serge Olivier Fokoua (Cameroon), Antoni Karwowski (Poland), Andrés Galeano (Spain), Essi Kausalainen (Finland), Magnus Logi Kristinsson (Iceland), Márcio Carvalho (Portugal), Maurice Blok (Netherlands), Stefan Riebel (Deutschland)

2010

Founder adn Curator of the artist residence Hotel 25, Berlin, Germany

Director and Curator of PLOT IN SITU, Live art festival, ACUD Theater, Berlin, Germany

Founder and Curator of the TV show ‘The Powers of Art’, AlexTV Studios, Berlin, Germany

Curator of ‘One more land be twin’ Exhibition by Luis Simões and Rita Manuel, Theaterhaus Mitte, Berlin, Germany