Un-Beer Sonata prompted an ironic attitude against the female stereotype and objectification of women which was extensively promoted by the beer industry in Brazil. Perpetuating sexist behavior, the association comparing women and beer can be seen in the majority of the advertising campaigns from the 1980s and 1990s (the temporal context in which I grew up). Nevertheless, in 2011 this association was still recurrent in contemporary TV campaigns and beer branding, even after the 2008 advertising regulatory norms by CONAR—the Advertising Normative National Council in Brazil—designated that “advertising models should never be treated as sexual objects”.

In response to this culture in the advertising industry, I scripted a performance in which I calmly broke beer bottles of several brands against the floor. The intention was to create accumulation of broken glass and liquid under my high heels. The action created a sonata of displeasure and irony, formulated as a beer anti-campaign. The persistence of the action returned the symbolic violence of these TV spots, which infamously posed as a celebration of the sensuality of Brazilian women.

Un-Beer Sonata prompted an ironic attitude against the female stereotype and objectification of women which was extensively promoted by the beer industry in Brazil. Perpetuating sexist behavior, the association comparing women and beer can be seen in the majority of the advertising campaigns from the 1980s and 1990s (the temporal context in which I grew up). Nevertheless, in 2011 this association was still recurrent in contemporary TV campaigns and beer branding, even after the 2008 advertising regulatory norms by CONAR—the Advertising Normative National Council in Brazil—designated that “advertising models should never be treated as sexual objects”.

In response to this culture in the advertising industry, I scripted a performance in which I calmly broke beer bottles of several brands against the floor. The intention was to create accumulation of broken glass and liquid under my high heels. The action created a sonata of displeasure and irony, formulated as a beer anti-campaign. The persistence of the action returned the symbolic violence of these TV spots, which infamously posed as a celebration of the sensuality of Brazilian women.

Un-Beer Sonata prompted an ironic attitude against the female stereotype and objectification of women which was extensively promoted by the beer industry in Brazil. Perpetuating sexist behavior, the association comparing women and beer can be seen in the majority of the advertising campaigns from the 1980s and 1990s (the temporal context in which I grew up). Nevertheless, in 2011 this association was still recurrent in contemporary TV campaigns and beer branding, even after the 2008 advertising regulatory norms by CONAR—the Advertising Normative National Council in Brazil—designated that “advertising models should never be treated as sexual objects”.

In response to this culture in the advertising industry,
I scripted a performance in which I calmly broke beer bottles of several brands against the floor. The intention was to create accumulation of broken glass and liquid under my high heels. The action created a sonata of displeasure and irony, formulated as a beer anti-campaign. The persistence of the action returned the symbolic violence of these TV spots, which infamously posed as a celebration of the sensuality
of Brazilian women.

Un-Beer Sonata prompted an ironic attitude against the female stereotype and objectification of women which was extensively promoted by the beer industry in Brazil. Perpetuating sexist behavior, the association comparing women and beer can be seen in the majority of the advertising campaigns from the 1980s and 1990s (the temporal context in which I grew up). Nevertheless, in 2011 this association was still recurrent in contemporary TV campaigns and beer branding, even after the 2008 advertising regulatory norms by CONAR—the Advertising Normative National Council in Brazil—designated that “advertising models should never be treated as sexual objects”.

In response to this culture in the advertising industry, I scripted a performance in which I calmly broke beer bottles of several brands against the floor. The intention was to create accumulation of broken glass and liquid under my high heels. The action created a sonata of displeasure and irony, formulated as a beer anti-campaign. The persistence of the action returned the symbolic violence of these TV spots, which infamously posed as a celebration of the sensuality
of Brazilian women.