Adriana Varella
Directing
Biography
Adriana Varella is a Brazilian artist. Adriana Varella’s way of thinking, making, and presenting art is situated in a position of resistance to hierarchical social structures, especially about the bipartite division of genders, women’s oppression, and the marginality and violence to which the LGBTQIA + community is subjected. It also encompasses other social problems such as class issues, racism, and the forest people’s extinction, as is a great part of the Brazilian indigenous population. All those fronts of struggle, consequences of colonialism, and the neoliberal logic, its updated manifestation, are recognized by the artist and assembled in their intersectional way of producing art by building networks and connections between different social demands. Adriana Varella's production is located in the intersectional view of capitalist oppression and also in an optimistic perspective of establishing links between the multiple networks of social demands that pursue a place of horizontality. Adriana Varella's political motivation they provoke their gesture, which unfolds in public and collective art projects that aim to deterritorialize spaces, discourses and languages conditioned to capitalism and patriarchy. Their projects consist in hybrid devices that assemble different media and supports, such as video, cinema, photography, drawing, sculpture, as well as the insertion of appropriated objects and performance actions, expanding the field of experimentation and diluting the borders of languages. The construction of these imagetic fields takes place outside institutionalized art spaces. With a modified space-time, their environments are composed of fragments of the "real", embedded in systems of signs that reverberate in new narratives, senses and thoughts. Stripped of immediate messages to be interpreted, their devices are heterotopic spaces for immersive experiences, providing the opportunity of reconfiguration of ways of being, seeing and acting in the world and in relation to others. By embracing active modes of image perception, Adriana Varella's devices have the power to, in the light of Deleuze, force thought (2006) in a society where entrenched mindsets are rooted in instances such as social groups, the nuclear family, schools, churches and the workplace, Varella's work is coming to confront them.
Known For
"Cracks in Civilized Landscapes" is a site-specific-public-art-queer-feminist-performance that challenges architecture. Filming the directors in the process of having sex in a church, a castle, a museum, a bank and other monuments, they attempt to deconstruct their sacred, heroic and sexist dimension. We infiltrate these buildings to decipher the oppressive power beyond their formal aspect. /"Spaces determines, control, affects behavior and participates in defining the sexual division of labor "We use sex as a revolutionary process of desecration, "the phallic tower block concretely, represents an era which has been dominated by patriarchy, authority, and hierarchy; which has been brutally moulded by the forces of colonialism, imperialism, and state domination over many hundreds of years... this way large-scale architecture provides the most dramatic visual examples of the relationship between space and power".
CRACKS IN CIVILIZED LANDSCAPES
a woman speaks in overlayed Max Stirner quotations.
consciousness causes collapse
The process of attaining coronation in the Anarchic Empire requires that Heliogabalus pass through the domains of incorporation of political, sexual and divine power. After incorporating these stages he finally arrives at the neuter.