Michelle Mattiuzzi

Five friends drink beer and chat at Violeta's house. Bit by bit, their stories of love, loss and suffering are told, revealing the acts of love and friendship that helped them through the hardest times of their lives.

The performance here is a device for creating counter-narratives, projectile bullets, decolonizing the image of the black woman. They are violent images, they are precarious actions, they are postgraduate research, they are articles in magazines and newspapers, they are contradictory, they are destructible. I will point out sounds and words of invisible people from institutional space, I propose a guerrilla of knowledge, in an attempt to reactivate ancestral memories and knowledge, to produce dissensions in bodies marked by coloniality.

The performance here is a device for creating counter-narratives, projectile bullets, decolonizing the image of the black woman. They are violent images, they are precarious actions, they are postgraduate research, they are articles in magazines and newspapers, they are contradictory, they are destructible. I will point out sounds and words of invisible people from institutional space, I propose a guerrilla of knowledge, in an attempt to reactivate ancestral memories and knowledge, to produce dissensions in bodies marked by coloniality.

The performance here is a device for creating counter-narratives, projectile bullets, decolonizing the image of the black woman. They are violent images, they are precarious actions, they are postgraduate research, they are articles in magazines and newspapers, they are contradictory, they are destructible. I will point out sounds and words of invisible people from institutional space, I propose a guerrilla of knowledge, in an attempt to reactivate ancestral memories and knowledge, to produce dissensions in bodies marked by coloniality.

The performance here is a device for creating counter-narratives, projectile bullets, decolonizing the image of the black woman. They are violent images, they are precarious actions, they are postgraduate research, they are articles in magazines and newspapers, they are contradictory, they are destructible. I will point out sounds and words of invisible people from institutional space, I propose a guerrilla of knowledge, in an attempt to reactivate ancestral memories and knowledge, to produce dissensions in bodies marked by coloniality.

Michelle Mattiuzi's ritual walk to the statue of slavery resistant leader Zumbi dos Palmares, downtown Rio de Janeiro.