The performance-installation Red A Hundred 40 reflects upon heredity and representations of individuality. By enabling several layers of meaning, this piece attempts to unsettle the viewer's expectations by addressing  the discomfort with the resistance of genetic and cultural influences. Its structure, made of eight micro-environments, evokes biography, genome discoveries, and social and political criticism, while confronting my artistic obsessions concerning the potency of images and the (in)efficiency of the words in contemporary relationships.

Duration: 1 to 3 hours. The work was originally conceived to be presented at the restrooms area of Casa Hoffmann, where the participants could experience the whole work in 15 minutes.

The videoperformance that originated this installation was strongly influenced by an experience learned from the women of a community in Valle de Epuyén (Epuyen Valley), in Patagonia/Argentina, who dilute their menstrual blood in water to pour it on the dry plants and trees of their region. By doing so, they believe to heal those plants and revere the ancestral connection between the feminine and the Earth.

By proposing a new circuit to my menstrual blood, I question the social and cultural perceptions concerning the female fluids. Red a Hundred 40 is a personal rite to reconnect myself with my own body. The title of the work refers to my 140th menstrual cycle. Readings of  the texts "The Dialectic of the Exterior and Interior", by Gaston Bachelard, and "How do you make yourself a body without organs?", by Gilles Deleuze and Félix Guattari, also influenced this work.

Red A Hundred 40 installation was composed of eight bathroom and shower stalls micro-environments.

1. The background wall is covered with DNA sequences. A performer with goggles stands over the ground covered with ice cubes. 
2. The closed door has a Explicit Nude sign. Inside the stall there’s a CD player continuously playing an important song from my childhood.
3. A collage made of X-Rays and exams from my father, as well as several boxes of medicine he took.
4. Red A Hundred 40 videos plays in looping. Five empty glasses—the same I use on the video—are lined on the floor.
5. Text fragments are sunk in water inside each of the four sinks. Viewers can read the texts by using flashlights. In the middle of the sinks a TV set shows a muted video, on which I discourse on the Red 140 installation concept.
6. “Punk is not Dead” is written on the closed door. Inside it, the viewer will find an old gun resting against the wall. Behind it,  the question written on the wall: “Are you OK?”
7. A performer reads a list of genetic landmarks and scientific discoveries over a standing microphone.
8. A Peep Show entrance. The viewer must pay 25 cents to get into this part of the installation. Upon payment, each viewer receives a card my name and date of birth, and the following inscription: “A portion of theses funds will be sent to programs to cease famine in Latin America”. Upon entrance in the Peep Show installation, the viewer sees the performer laying down over red meat covering the floor, while CNN International is projected on the wall

The performance-installation Red A Hundred 40 reflects upon heredity and representations of individuality. By enabling several layers of meaning, this piece attempts to unsettle the viewer's expectations by addressing  the discomfort with the resistance of genetic and cultural influences. Its structure, made of eight micro-environments, evokes biography, genome discoveries, and social and political criticism, while confronting my artistic obsessions concerning the potency of images and the (in)efficiency of the words in contemporary relationships.

Duration: 1 to 3 hours. The work was originally conceived to be presented at the restrooms area of Casa Hoffmann, where the participants could experience the whole work in 15 minutes.

The videoperformance that originated this installation was strongly influenced by an experience learned from the women of a community
in Valle de Epuyén (Epuyen Valley), in Patagonia/Argentina, who dilute their menstrual blood in water to pour it on the dry plants and trees of their region. By doing so, they believe to heal those plants and revere
the ancestral connection between the feminine and the Earth.

By proposing a new circuit to my menstrual blood, I question the social and cultural perceptions concerning the female fluids. Red a Hundred 40 is a personal rite to reconnect myself with my own body. The title of the work refers to my 140th menstrual cycle. Readings of  the texts
"The Dialectic of the Exterior and Interior", by Gaston Bachelard, and "How do you make yourself a body without organs?", by Gilles Deleuze and Félix Guattari, also influenced this work.

The performance-installation Red A Hundred 40 reflects upon heredity and representations of individuality. By enabling several layers of meaning, this piece attempts to unsettle the viewer's expectations by addressing  the discomfort with the resistance of genetic and cultural influences. Its structure, made of eight micro-environments, evokes biography, genome discoveries, and social and political criticism, while confronting my artistic obsessions concerning the potency of images and the (in)efficiency of the words in contemporary relationships.

Duration: 1 to 3 hours. The work was originally conceived to be presented at the restrooms area of Casa Hoffmann, where the participants could experience the whole work in 15 minutes.

The videoperformance that originated this installation was strongly influenced by an experience learned from the women of a community in Valle de Epuyén (Epuyen Valley), in Patagonia/Argentina, who dilute their menstrual blood in water to pour it on the dry plants and trees of their region.
By doing so, they believe to heal those plants and revere the ancestral connection between the feminine and the Earth.

By proposing a new circuit to my menstrual blood, I question the social and cultural perceptions concerning the female fluids. Red a Hundred 40 is a personal rite to reconnect myself with my own body. The title of the work refers to my 140th menstrual cycle. Readings of  the texts "The Dialectic of the Exterior and Interior", by Gaston Bachelard, and "How do you make yourself a body without organs?", by Gilles Deleuze and Félix Guattari, also influenced this work.

The performance-installation Red A Hundred 40 reflects upon heredity
and representations of individuality. By enabling several layers of meaning, this piece attempts to unsettle the viewer's expectations by addressing  the discomfort with the resistance
of genetic and cultural influences.
Its structure, made of eight micro-environments, evokes biography, genome discoveries, and social and political criticism, while confronting my artistic obsessions concerning the potency of images and the (in)efficiency of the words in contemporary relationships.

Duration: 1 to 3 hours. The work was originally conceived to be presented at the restrooms area of Casa Hoffmann, where the participants could experience the whole work in 15 minutes.

The videoperformance that originated this installation was strongly influenced by an experience learned from the women of a community in Valle de Epuyén (Epuyen Valley), in Patagonia/Argentina, who dilute their menstrual blood in water to pour it on the dry plants and trees of their region.
By doing so, they believe to heal those plants and revere the ancestral connection between the feminine and the Earth.

By proposing a new circuit to my menstrual blood, I question the social and cultural perceptions concerning the female fluids. Red a Hundred 40
is a personal rite to reconnect myself with my own body. The title of the work refers to my 140th menstrual cycle. Readings of  the texts "The Dialectic of the Exterior and Interior", by Gaston Bachelard, and "How do you make yourself a body without organs?", by Gilles Deleuze and Félix Guattari, also influenced this work.