I am interested in the multiple possible connections between body and time, mainly in the ways in which bodies live, create, experiment, explore, assume, process and project their experience of temporality, may these forces be known or unknown. In performance, I deal with lived time, dilated, inexhaustible, immeasurable through an unusual body state that is up to be a passage, a duration, a trace, a crack and a ruin. I mix confabulation and life to develop a language closer to aesthetic and sensitive subtleties.

Currently, I develop research related to alchemy, memory (memory types: mnemonic; memory loss—oblivion; super memory—remembrance and mental training and the multiple relations with the senses), neuroscience, mental health and slowness. I look for the fragility, the delicacy, the confrontation, the self-control and the impermanence.

In “Decanto,” I work with a simulation for erasing memory. How?

First Moment: voice. recorder. verb

Duration: about four hours

I hold in my hands a recorder and continuously read aloud the conjugations of the verb forget, in all its moods and tenses.

Second Moment: chair. voice record. dropper. cup. wine. semantic memory

Duration: about four hours

I turn on the audio recorded on the previous day. I lie down in a chair lying on the ground and with the help of a dropper, I gather, as slowly as possible, the wine in a glass located above my head. Gradually, while focusing on my voice repeating forgetfulness, I drip wine in my mouth without swallowing and let it overflow.