Adrián Regnier
Ana Barroso
Andrea Novoa
Anna Baranska
Clara Aparicio Yoldi
Cyril Galmich
Dan Lahiani
Daniel Seraphim
Daz Disley
Dianela Torres
Eija Temiseva
Fenia Kotsopoulou
Filomena Rusciano
Francesca Bonci
Francesca Fini
Francesca Leoni
Francesca Lolli
Franck McCauley
Furen Dai
Gabriel Desplanque
Gaetano Mastrocinque
Guilherme Bergamini
Isabel Perez del Pulgar
Isabel Perez/José Cruzio
Kappala Kumar
Kristina Paustian
Luis Lopes
Marcantonio Lunardi
Março Schiefelbein
Natalia Behaine
Natália de Mello
Pancrazio da Padova
Ruxandra Mitaxe
Salvatore Insana
Sevcan Sonmez
Silvia de Gennaro
Tales Frey
Thomas Hjornet
Tiziano Bellomi
Yao Cong

TALES FREY (Br), Atending the mold, 1:03, 2013

Conjugation of the verb ater and present indicative of the verb to attend. I commit to a mold: I consider this pattern and try to fix it in my body. An arduous, painful process that requires a transformation of my body silhouette in the form of burns. I seem to abstain from the natural shape of my hands to try to "put on" a pair of gloves that would have formed in a painful way, but which fades easily due to the fragility of the material. The process of embellishing myself with gloves from candles also denotes the long prayer of a faithful man holding the flames of his inflamed supplication that culminates in self-flagellation. The "Lord" commands and the faithful obeys, answers, says "amen," as does the subordinate to Fashion. Both Fashion and God escape from the hands and injure like the warm liquid of the paraffin, which registers the impossibility of a concrete encounter with the desired ideal and demonstrates the eternal becoming of a subject enslaved in its search.

TALES FREY (Br), Reverse, 3:56, 2014

On June 20, 2013, I presented the first work of a series of performances in which I made a commitment to convert the rite of passage of my birthdays into artistic procedures that allude to what we know as memento mori.
Reverso, the second creation of this series, is a kind of regression to my origin; is the reverse of the chronological sense as an alternative of refusal to the inevitable passing away of my matter. In this performance, with the help of my mother, I trigger the memory of all my birthdays through a game that takes up the concept of the Lacanian "stage of the mirror" imbued with narcissistic elucidation until arriving at 20 hours on June 20, 1982, the day I interrupted my sister's one-year-old birthday party to be born, to abandon the comfort of the womb.
I lie down on a two-by-one mirror and stand for thirty-two minutes contemplating every part of my body that I can see through the mirror as I hear a reversed recording of a conversation I had with my mother to remember and know details that occurred on the day of my birth and on all birthday parties until the last before this.

Tales Frey nasceu em Catanduva / São Paulo, Brasil em 1982. Vive e trabalha em Porto / Portugal e no Estado de São Paulo e Rio de Janeiro / Brasil). É Doutor em Estudos Artísticos – Estudos Teatrais e Performativos pela Universidade de Coimbra. Realiza performances e expõe os prolongamentos das ações ao vivo como obras autônomas em novos dispositivos regularmente desde 2003. Principais exposições / eventos de destaque:
"Rapid Pulse" Internacional Performance Art Festival / Chicago, USA, 2012; "III Bienal de Performance HorasPerdidas", Monterrey, México, 2016; "Fjúk Arts Centre", Húsavík, Islândia, 2016; "Mirada" SESC / Santos-SP, Brasil, 2016.