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FLESHION [appearances] is one of the results of a long-term research under the name of Archeology of Desire. It involves a number of collaborators and deals with notions of archeology, time, desire, body and fashion (in the sense of modes of something or in a particular way or style).

Fleshion [appearances] navigates through politics and poetics of appearances and discusses the power of visual (aesthetic and poetic) impact in political complexity, the judgment of value and the understanding (or not) of differences within diasporas. It uses the fashion system as a critical tool breaking its common sense of superficiality. In fact, it enhances its entanglement within aesthetic and ethics.The so-called first impression or fashionable effect and those invisible layers of subjectiveness.

Presented as a collection of garments alluding to distinct times and its projections over the female body (and the arbitrariness of the term) in an irregular timeline. Fleshion. Its first part refers to cultural layers coming from diverse cultures that are naked to enter to a future body guided by the biotechnology, fictional but present where the flesh shouts and the fashion shows its teeth: touch becomes the ground of pure abstraction.

Fleshion [appearances] is a meditative dance-fashion showpiece that navigates through political and poetic of appearances. The word Fleshion comes from the contraction between the English words Flesh-flesh and Fashion-fashion. It was invented to describe this sensitive sphere between perception-sensation and the materials around us that touch us and the way in which we touch them. This cognitive operation that accompanies us from the beginning of time - dressing; which differentiates us culturally, engenders aesthetic and ethical discourse in manifold and plural manifestations. Also disagreements, disagreements, and prejudices, the effects of appearance, which are not as superficial as they seem. The constant friction between the body systems and the fashion system.

The play is one of the results of Thelma Bonavita's long-term project, Archeology of Desire, which speculates on notions of time, body, fashion and desire. It is premised on the idea that touch is the ground for abstraction and where experiments and experiments between body, ethics, and art collide.

Fleshion [appearances] was originally created in Berlin and had the choreographic collaboration and performance of Marcela Reichelt and sound design by Canadian Katrina Burch. It was presented at the Sesc Dance Biennial, in Campinas, São Paulo, in 2017. Its re-assembly (the original term in Portuguese is montação)* is a consequence of the continuous work between the artists of the dance, Juliana França, and Pedro Galiza and the musician Piero Bonavita. This assemble made the following presentations: the Archeology of Desire performance, presented at the Casanova Gallery in São Paulo, 2017 and Fleshion [appearances], presented at Casa Miani in February, an exhibition and performance at  1º Mostra do Avesso (Show Inside Out) at CCSP in April and performance at Virada Cultural in May, all in São Paulo, 2019.

* montação in Portuguese:  refers to the action of dressing exuberantly, in the fashion slang a flamboyant self dressing and comes from “montage”.


Thelma Bonavita/ photo:Jackson Araujo


Marcela Reichelt/ photo: Emilija Skarnulyte

FLESHION [appearences] REMAKE

images by Carol Fig performance by Juliana França and Pedro Galiza, 2019


APRIL in Sao Paulo/Brazil


28/04 20:00 hs performance at CCSP Centro Cultural São Paulo


image: Carol Fig with Pedro Galiza and Juliana França