“…so much wasted work! So much play and squandering, so much effort without purpose.” Severo Sarduy

STUDIO DISORDER’S LA MAISON BAROQUE combines colonial tales on canni-balism with the Anthropophagic Manifesto written by Oswald de Andrade in 1928 during the critical Modernist Art Movement in Brazil. Four performers from different backgrounds and their guests in the midst of a decolonial choreography create a boundary crossing experience. This is a performance which explores and questions traces of Otherness; an open chain of references winding its way in five acts from Europe to Latin America and back. The performers unravel this historical yarn while accumulating, representing, trans-creating and incorporating each other’s practices, and also from iconic artists from Brazilian Neo-Concret Movement like Helio Oiticica and Lygia Clark. The choreographer operates as a curator who interweaves existing works from transnational artists into the web of this Baroque collage.

RODRIGO GARCIA ALVES is a Theatre Director and Performance Artist from Northeast Brazil. He graduated from a Master’s Degree in Solo Dance Authorship from the UdK Berlin. During his studies he developed a research on the connections between the Baroque aesthetics and the post-colonial movement in Latin America. Studio Disorder is a platform which results from this research and works as a place for invitations and curatorial work in the field of the performing and visual arts.

PEDRA COSTA is a Brazilian Performance Artist and Anthropologist. She is currently doing a Diploma in Conceptual Art in the Academy of Fine Arts Vienna and working with queer migrant artists internationally. Her work is informed by the aesthetics of post-porn and an investigation about decolonial concepts.

MAB CARDOSO is a classic Ballet Dancer who works on the deconstruction of this technique in connection to performance art. She is currently doing a Masters in Performance Studies at the University of Hamburg.

KYLA KEGLER, born in Buffalo, studied visual arts at SAIC Chicago where she began making and performing paper mâché masks. She holds an MA in SODA from UdK Berlin. She names her practice “Social Choreography” which includes biographical community-based work, and research-driven interdisciplinary performance. Her work deals with topics around intimacy, interpersonal relationship and social structures.