The name ZOO is a reference to the universal exhibitions of the early 20th century, where people from the colonies were moved to Europe to be commercially exploited and exhibited as conquests of the white empire, which discriminates against their exotic characteristics based on the Eurocentric idea of the ​​"Other". “Who is the colonizer within each of us?” is the question that penetrates these artists, under conflicting power structures and feelings.


60 min


co-production: mounsonturm (frankfurt)

premiere: avr/18

andrez lean ghizze

caio cesar

dani barra



luiz gustavo

marine sigaut

rosangela sulidade

collab:carol mendonça

Derided. Disorder. ZOO starts as an experience that is not exhibited. Different activations take place in this situation that the group refers to as "prohibition". Expanded sexualities, tracks in space, musical provocations, and fierce desecrations. As the audience enters, the environment is loaded with all of these evocations, and the work is established with the questions: who is performing, who is watching, and what is being watched. To enter the ZOO you need to experience it….


The choreography oscillates between spectacle and performance, its intensity varying according to the susceptibility of the consensus, dialog devices, and sharing of perceptions. The presence of the performers is constantly updated by the friction of what can be done, and the imminent happening that is surrounded by dramatic conventions. Freed from the bars between audience and exhibited object, everything becomes doing and watching, while bodies wander between relational remnants, indicating what could be termed a “social experience”... 


The crisis hits these Brazilians without waiting lines: the dangers of labels, the tension of clichés, the invocation of political issues through the curatorship. Alongside the audience, they begin to review what is being performed, the reason behind the dance, what the show is - attempting to grasp impossibilities and geopolitics. But all they find is invisible decoloniality and clothed bodies bearing the imminence of not wanting to escape this collapse, where instability stands out like a powerful state – a colonial hangover.


ZOO exposes beings who dream in the midst of the precariousness of matter and the distribution of the sensitive. Evoking the risk of putting the patrimony of the performance in harm's way, as well as places of privilege, it performs unheard-of feelings, attempts at crisis management and of scattered desires in a large lacunar territory where instability disenchants the bodies that circulate vulnerable to discourse. The uncertain conditions of possible worlds allow us to envisage new forms of resilience in this place rendered by conflicting sensations and the expectations of exhibition. 

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