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MORPHEX is an audio-visual performance created by the artists Lola Lustosa and Mahir Duman. The work refers to the old tradition of the dance of masks, a shamanistic ritual to thank the gods and drive out evil spirits. The dance of love and its dangerous emotional positions. Yin & Yang/ Light and shadow /Universal big bangs/ Explosions/ Electricity/ Ancestral feedback/ Identities/ East & West ideologies colliding into one present Bodie. The old and the new merged into psychedelic video projections, dance performances, and electronic music.

The track “Contemporary True ” from De-Feo sets the mood and tells that the god’s door is open. You are welcome to enter and find yourself at the Dance of Masks. De-Feo seeks to overcome the separation of the sensory perceptions of man-made sound and light frequencies or the difference between the various anthropological communication systems. Creating scientific, artistic, and sociological phenomena perceivable for both eyes and ears in a multi-sensory and unexpected environment is his main goal.

The underground Berlin club scene is where the new dance of masks begins its inspiration. The space of an old factory combined with impressive video projections sets a very Unique and post-identity time. Very familiar for the ones that have experienced the best of Berlin club culture. The performer dressing white with a white mask is a clear portal to empathy and self-healing. The figure creates a perfect merge with the space installation and the outside public. The movements combining Butoh, Flow, and theatrical dance are clacking the new healing ritual. Her shadow is a contra point. Is the unthinkable, the untouchable.

MORPHEX has been performed at LPM Munster Festival and 48 Hours Neukölln Berlin Festival 2023.

Watch Trailer:

Links: muenster/program/morphex/

About Collective:

LICHTNOMADEN is a collective formed by 3 contemporary artists: Lola Lustosa, Mahir Duman, and De-Feo. Merging video projection, dance, and Live music the collective is offering performances in the open air and in public.


MAHIR DUMAN is a visual artist and VJ based in Berlin, presenting live performances, interactive installations, and projection mapping in various European countries, especially for concerts, music- and art festivals, clubs, and art galleries. He was born in Ordu, Turkey, and lived in Istanbul for many years. In 2011 he moved to Berlin and expanded his life and work as an artist. Duman studied Industrial Engineering at Yıldız Technical University in Istanbul, Turkey, and Digital Film & Visual Effects at the SAE Institute in Berlin, Germany. He produces videos, short films, music clips, and lots of other media sets, mixed and synchronized with sound and the rhythm of action. He describes his imagery as unrealistic and surreal, questioning human perception and the interplay between subjects. Mahir Duman defines music as the scenario of a visual show and aims to create a new perspective, a relationship between humanity and the universe, to reach the human subconscious and feelings by playing light, color, and images. He believes that art enables us to find and lose ourselves simultaneously and inspires people’s awareness of unconscious and conscious states of life. LOLA LUSTOSA is an independent Brazilian artist, dancer/performer, and filmmaker based in Berlin. She uses alchemy, rituals, and crafts, and transforms them into multimedia artworks where the public can visit her particular perception and connection with time and space. The artist develops dialogues into social memories crossing from Brazilian Tropicalismo, natives, old mythology, and underground western Crafts. The artist has been part of several important venues as: Morni Hills Art Performance Biennale (IND), Les Théâtres de la Ville de Luxembourg(GER), ICI – CNN Montpellier(FR), CTM Festival(GER), Novas Frequências Festival(BR), and Rote Fabrik(CH). As co-founder of Musterzimmer since 2012, she had the opportunity to work on the montage and curation of several venues in Berlin. The artist collaborates as a producer and performer for Plataforma Berlin Iberoamerican Festival since 2011. The ongoing virtual Performance “Ego Open Forever”, Mentioned in Wall Street International Magazine, gave the artist the position of the first Artist to question social media, defining Facebook as the biggest ego manager in history. The performance is the starting point to rise works where she questions our social Identity and awareness about the future. She has worked with Arto Lindsay, Alexandra Pirici, Barbara Berti, Christoph Wirth, Eemil Karila, Jarkko Räsänen, Jean Marie Dubrul, Laura Leiner, Mari Stocker, Martha Hincapié Charry, Peter Goss, Serge Ivanov, Simon Rose, Tero Puha, among others. DE FEO, born in 1995 in Naples is an Italian Dj, sound designer, and visual artist based in Berlin. With experience with soundtracks, events, and media communication in cities like Amsterdam, London, Belgrade, Barcelona, Berlin, and many more, he is part of a generation of artists who work intensively in the transitional area between music, art, and science. His knowledge of communication mixes with skills in new media art to perfectly meet his need to convey to his listeners not only the right sound but a unique collective experience, transporting them to different places with the use of samples created or recorded on his long journeys. In his work, he seeks to overcome the separation of the sensory perceptions of man-made sound and light frequencies or the difference between the various anthropological communication system. Creating scientific, artistic, and sociological phenomenons perceivable for both eyes and ears in a multisensory and unexpected environment is his main goal. His music is regularly supported by names such as: Richie Hawtin, Paco Osuna, Ilario Alicante, Young Male, Florian Meindl, and many more! For DE FEO, making music is not simply about producing sound, but about transporting people into a boundless experience.


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It is fascinating the harmony of movements between the giant puppet and its manipulators. Are they the puppeteers exercising power on a grand scale? Or are they the puppets trying to free themselves from their strings, from the clutches of their manipulators, by completely reversing the relationship structure? The interaction between the giant puppet and the puppeteers becomes the dance of control, the dance of influence, a performance that depicts the dialectic of power and resistance.


The Dance of Control is a performance that refers to the dialectic of power and resistance. In the winter of 2021, I was invited by Claire Chalet and Saba Tsereteli to collaborate as a dancer/performer and choreographer with the Theatre of Details in the piece Die Be-Suchenden: A Mobile Backyard Theatre for All. Directed by Claire Chaulet. After that experience, I was very taken with the curious dance of a puppeteer and its physical, spiritual, philosophical, and dramaturgical possibilities. This articulation – which is not always possible or perceptible in art – is more manageable in this respect, in so far as these possibilities are visible, presentable, and expressible from dance in art, in this particular case.

Aspects and questions of the research:

my expectation is to deepen these relationships and to find out as a dancer/artist where my training can open new possibilities as a new puppeteer. I intend to continue to collaborate with the Theatre of Details over the next two years on their future productions, interventions, parades, and stories in public spaces. The research I am conducting as a dancer/puppeteer with the support of Theatre of Details goes beyond language and is not just about one culture, but brings together different generations and cultural backgrounds. Different layers of interpretation (visual, sonic, symbolic, semiotic, infantile…), visible accessibility (connecting with the public in public spaces, courtyards, streets), universal stories, and cultural activism.I plan to take time to explore and discover where dance/body language takes me with all the puppets in the collective, and also build my version in others to fully understand puppet culture and give my best in stories and feedback. With the intention of audience interaction and anthropological rescue of the ancient technique of puppet theater mixed with contemporary dance, sound, visual, and urban social possibilities. I want to collect stories that I encounter during this control dance process and answer the questions: What are the limits of the body and the limits of the puppet? Is dance a liberation from the system and a bridge to freedom of expression? Is there a universal movement? Is it possible to escape Georg Wilhelm Friedrich Hegel’s old dialectic of slave and master? Does the constant renegotiation of this dialectic make this relationship a reflection of our everyday life?


The research of 3 months was just enough for touching all topics mention in the project Research application.


Some images of the research result:









For more Pictures of the Karneval Für Die Zukunft:



Funded by the Federal Government Commissioner for Culture and the Media in the program NEUSTART KULTUR ( aid program DIS-TANZEN ) of the Dachverband Dance Germany. 2023




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ANÁLISE DE FREQUÊNCIAS ( Novas Frequências Festival 2020)

Website of the festival ” NOVAS FREQUÊNCIAS”



Sobre Análise de frequências: Em cada um dos 40 dias que antecederam o festival, Manuel Pessôa de Lima sorteou um nome dentre os cerca de 40 artistas do Novas Frequências 10 anos, e produziu um pequeno monólogo em fita cassete que fica entre um diário e introdução do artista sorteado. Lola Lustosa partiu desse material para a produção de peças sonoras livres, entremeadas em seu cotidiano. O podcast com 10 episódios é a compilação do material gerado por ambos, incluindo a participação de convidados.

This material was fully developed in the Portuguese language.


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JOY performance
by Lola Lustosa and Joseph Devitt Tremblay

The performance is a ritual for better times. To the memories of human joy before the transition into post-human Ciber Space. The seeds representing prosperity in many levels of our human necessities, magnetic stones to attract joy to the ones in space, and yellow candles to bring the best light. JOY Is a shared offer to the public. JOy is an act. JOy is an intention.

Berlin 2020

@Festive Prep for the Finissage

Trilogy for a Life Standing

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Trilogy for a Life Standing Is a collection of 3 performances – Part 1 Splatter, Part 2 No ID Represents Me, Part 3 Hologram – to be developed and merged into one piece.

Realization Lola Lustosa & BROKEN LOOP Collective (Anastasia Alekseevna, Jarkko Räsänen and Lola Lustosa)

Work in progress Part 1 Splatter is the first project of the BROKEN LOOP collective and has been shown at Plataforma Berlin Iberoamerican Festival at Verlin and Deviation Festival, curated by Musterzimmer, at Acud Macht Neu, Berlin. 2018.

The work is a free deviation and it proposes a loop structure studying with slide projections and recording sounds loops on stage. The soundscape is combined with theatrical gestures resulting into a trance/psychedelic sessions.



Work in progress Part 2 No ID Represents Me (Premiere) DOCK 11, Berlin, 2016 raises questions such as: is it possible for a body to knowlege? Where did we come from? What time are we living in? Are we drag characters of this time and are we going to break away from this existential loop?

A mirage opens from a compulsory displacement/ shift of the ego from the inner self, when the experience is gone. The inner self starts a journey back to where it had never left before. Infinite, everything and nothing are now accepted as dialogue by this ultra conscious body.

The artist is nude or not (it depends of the rules of the space), shifting from one position to another in between the public with holding a mirror in front of her face she reflects the light from the spotlight on the public. All movements are very slow and remain an urge for new ritual. The public can interact with the performer while reflecting itself on the dirty mirror or touching the body of the artist.

password: penetraveis


To be developed Part 3 Hologram and premier as work in progress at DOCK 11, 2019, at Plataforma Berlin Festival together with Splatter and No ID Represents Me as a final format of the “Trilogy For a Life Standing”.

Hologram is physical structure that diffracts light into an image. As a possible ending point of the trilogy hologram translates the whole, the universe, the total, the complete, the safe and sound.

The performer is now in a dark room out of the stage with a top light where a camera is filming and connected to a live projection on stage. The light of the projector is reflecting on dark layers of fabrics set on stage. Live projections, live sound and words are now inviting the public to enter the stage.

On residency during the Morni Hills Performance Biennale II at Panjab University Museum, in Chandigarth, India, 2018 I had the chance of performing “ NO ID Represents Me ” and to reflect on the concept for the whole trilogy by having interesting conversations with other artists at Morni Hills residence some directions got formed.


– Becoming a Hologram.

– A feeling of being a hologram.

– The hologram as an image for the inner self.

– The holograms could feel each other.

The Acceleration of the transition from the natural reality as we have experienced until now into virtual and artificial reality and intelligence globally is the trigger to escape the visual experience, mind and feelings of human form into hologram form: to find a way of presence and permanence in life.

“The people through its own fault/ Has lost the confidence of the government/ And only by redoubling its efforts/ Can it win it back/ Would it not be easier than/ For the government to dissolve the people and elect a new one? will have any positive effect; the ghosts of the dead won’t let themselves be subdued by barrels of TNT. No one who’s given some thought to what the European states were like in the time of their splendor can look at what still goes by the name of state these days and see anything other than failures. Compared to the transnational powers, the states can no longer maintain themselves except in the form of holograms.”

“All the reasons for making a revolution are there. Not one is lacking. The shipwreck of politics, the arrogance of the powerful, the reign of falsehood, the vulgarity of the wealthy, the cataclysms of industry, galloping misery, naked exploitation, ecological apocalypse we are spared nothing, not even being informed about it all. Climate: 2016 breaks a heat record, Le MOND announces, the same as almost every year now. All the reasons are there together, but it’s not reasons that make revolutions, it’s bodies. And the bodies are in front of screens.” Extracts from political/philosophical book by The Invisible Committee called Now


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This was my first work 🙂


O Vídeo Arte Ambiciona Polarizar as seguintes Questões:


. Humano X Maquínico

. Formação X Forma

. Processamento X Produto

. Som externo a imagem X Som inerente a imagem.

. Minimalismo (repetição) X Tempo Histórico (Epílogo)

. Formalismo do ensaio dos efeitos vídeóticos X narrativo.

. Paralemetria musical X Paralemetria Visual





. Abstração Informal da pintura dos anos 40 e 50.

. Exprecionismo

. Minimalismo

. Dança (Coreografia)

. Maternidade

. John Cage ( Paralemetria musical)

. Kodo. ( percução)





“ Uma musculatura visual do suporte vídeo”

“ Ver as coisas é esquecer os nomes”. Sem Título. Inominável.

“ Cardioplástico”

“ Uma Coreografia de luzes”

“ trabalho fortemente pictórico”

“ Figuração humana sugerida”

“ O trabalho narra a si mesmo”


“ A mixagem das Musicas “she is asleep” e “Music for Four” de Jonh

Cage , formam um monolito musical, que é quem da palavra as abstrações.


“ Monolito Musical e quando a musica é continua ou seja sem intervalo para o silencio.”


“As não formas acabam se transformando em organismos, água, corpo e abismo que permeiam e alertam para os acontecimentos abstratos, que com a edição ganham uma história . As abstrações materializam sentimentos íntimos onde a pessoa se depara com o abismo que o próprio corpo oferece”.


“ O trecho da música “Monochrome” do percucionista Kodo no epílogo, traz para até então abstrações e musicas que caminham paralelas durante a obra um momento de união onde imagem e som se coencidem, parecendo então formar forma, corpo porem ainda abstrato.



(TÍTULO da obra), com duraçao de “xis” minutos, busca polarizar questões-chaves do mundo contemporâneo, entre as quais: o humano versus o maquínico; a repetiçao contra a diferença; o factual e suas projeções subjetivadas. Trata-se de uma experiência ostensivamente abstrata (as figuram tendem à diluição ou ao fantasmagórico) e formalista, ou seja, auto-questionadora (o suporte VIDEO e seus efeitos). Das artes visuais (Abstracionismo informal, Expressionismo

abstrato e figuração expressionista) à música (Dodecafonismo, Miinimalismo), a obra remete também a tensões típicas do impasse entre ausência de narrativa e epílogo, sensualismo e fisicalidade, tempo psicológico e duração histórica.


Ficha Técnica:


Autor: Lola Lustosa

Concepção: Lola Lustosa

Fotografia: Lola Lustosa

Câmera: Lola Lustosa

Música: Lola Lustosa

Edição: Sofia Karan

Colaboração: Sofia Karan




“ She is asleep”

Jonh Cage


“ Music for four”

Jonh Cage


“ Monochrome”






. Noboyki Osaka.

. Marcio Tinoco.

. Christian Gaul.

. Helena Lustosa

. David Cury

. Claudio Montagna

. Miguel Rio Branco

. Cristina Santa Maria

. Gilberto Loureiro



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VEDA is a CINEPOEMA made by Lola Lustosa and Vanessa Cokaric. The work is manifest in favor of humanity and the collective future. Have you stopped to think about what it does mean to bring one into life today? What is the power of that? The film is a tribute to the ones that never desist of the yang generations and will fight for harmony with nature.

Was having its first steps/ screenings at Philosophy Unbound TOXICITY 2020 @ Chitkara University and Grove 2020, India, and is provoking positive feedback.

“Overall I can say that I was really impressed by the work. I was very impressed by the way you danced and made your pregnant body subject of this very multi-sensorial experience. I think this is what stayed with me the most: that it touched me on various different levels: from the more “rational” layers (the texts about population growth, climate change, etc.), to the music and the corporeal languages…” Kilian Jörg, TOXICITY 2020. India.

…” Drumbeats follow and she’s playing with the hourglass lying on the floor. She slowly rises from the floor, squat. One cannot but be a part of this shamanic ritual. She’s the dancer of choices between the realms of living and coming-to-life. She has time on her hands, and it is by choice that she’s dancing. Her ritual is the dance; it purges her being off the dust of everyday sleeplessness. In this purge, intimacy is born again. She has opened herself again to the state of feeling, she can breathe again. This is expressed in the monologue, that follows the ritual. Her dance has evolved into unmediated expression, the seat of art itself, and has found the sublime.”…
Text by Blue Magpie, at the Winter Dialogue – 2020, organized by Grove. India.



Concept / Camera / Direction/ Editing: Lola Lustosa

Performer/ Text / Voice Over: Vanessa Cokaric

Music: Jarkko Räsänen/Klaas Hübner/ Lukas Rutzen

Audio Mix – Post-production Janne Särkelä

Berlin, 2020

Free to watch from 8th of March 11:11 AM to 10th of  March 11:11 AM  ( WOMEN’S DAY)

English Subtitles


Portuguese Subtitles






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If you are interested in seeing the final result please get in contact with me by mail. Check Contacts.


Veda Criticism

(Text by Blue Magpie, at the Winter Dialogue – 2020, organized by Grove. India.) Full Text.

The 25-minute Veda by Lola Lustosa and Vanessa Cokaric is a poetic immersion into the genesis of a new life form in otherwise a conflicting society. Studded with voiceovers, text, and varied soundscapes, Veda makes for an empathetic viewership, where the performative body of a dancer communicates between the virtual and the Lebenswelt. Borne in the belly of this performance, is an innocent desire on the threshold of its coming to life. The performance takes place in a living space, a room, in the form of dance in relation to the object of time, an hourglass. This structure is immanent to the design of the film, and must not be seen isolated in any possible semantic realm.

A pair of hands somewhat caress a belly in the opening scene against a black background filled with sounds resembling electric shocks. We’ll leave it to that, for the representation of any kind is an arbitrary endeavor and presupposes a distraction to immersion. This philosophy perhaps reinforces the artistic intention of Veda: To see the film for itself and not as a symbolism tended towards abstractions in possible world semantics. One may, therefore, start thinking of Veda in terms of empiricism, phenomenology, and even hermeneutics. The opening scene serves as an insight into the what-it-feels-like of the performer. This phenomenon further evolves into an elaboration after the title appears on the screen, where we see the performer as a body and not as just a belly, for the first time. The body crawls to the hourglass in languid uneasiness of her becoming. The performer, Vanessa, is also speaking, but her lips don’t read any recognizable linguistic possibility. The voice-over technique here is meticulously placed and deepens the visual immersion into the mindscape of the performer cast by an internal monologue. She speaks of an inability to sleep lined by a stream of thoughts that seem to have her suspended in waking life. The body has to keep moving though, which we see on the screen with her movements on the floor, holding the hourglass, and finally rising from the floor. The monologue arises in the threshold, where both the bodies (of the performer, and a body-becoming in her belly) speak in a mother-tongue. This tongue is molded in the language of care, concern, and a desire of passing on dance as knowledge to the in-coming life form. Perhaps dance is pure movement and can only be transmitted as dance… She rises into a set of carefree movements and the body-becoming certainly is summoned to these movements.

The room of thought is lit with sunlight drifting in through the windows. Is it day-time? Her movements follow to a black screen where white words appear lining the length of the screen with statistics of birth in our society. This is where the performance world of the film enters into a conversation with a shared reality of the Lebenswelt. In other words, the personal monologue transforms into a dialogue, between the performer and the audience. The audience, so to say, is speaking, because they read the words as they appear on the screen. If not explicitly vocal, the conversation takes place in the mindscape universe of performer and audience. This speaks volumes of the production finesse of Veda, as far as the technical aspects of film-making are concerned. What is important to note is also the fact that the screen facilitates speaking of innumerable voices, when the film is screened at film festivals and art events. The volume of speaking audience voices always already realizes the intensity of a collective human world we live in, which translates into empathy for the performer in her concern of contributing another number to the world population. This feeling has been able

to show childbirth very clearly as a choice, rather than a necessity, which again illustrates the power of Veda in the discursive realm.

‘And what about nature?’ – The performative voices this question into the opening of the next scene filled abound with rain and forest sounds. She is dancing all the more carelessly but is seen on a series of mirrors placed on the wall. The gaze is diagonal, otherwise, it would reflect the film camera on screen. But this gaze serves another purpose. The one of reflection – Look into nature, she’s within it, dancing to the rain and storm alike, birds sing to amuse, perpetual flow, the harmony all of us deserve. The audience becomes hostages to refection (thinking) and this reflection is rather strong, for it contrasts the realities of humans, with the living world of nature. This is not to be presupposed as a dichotomy between nature and culture, for the performance is located both in culture and nature as a bodily movement.

She climbs onto the window sill and the diagonal camera gaze is maintained to the point where nature sounds are cut of abruptly and chaotic bubbles of sound appear. Vanessa can be seen on the window; her movements are in tune with the cavity of the window. Is it the moment for choice? But nature sounds reappear starting from a bird chirp and ranging to thunder and rain. The uncomprehended nature of this scene is a break in the reality of immersion in Veda. Perhaps for the first time in the film, one might feel alienated. She is still moving on the window sill. Alienation is not groundless but is on a slippery ground for sure. The world of humans, reflection in nature, internal monologue, and the dialogue of concern, all have contributed to this slippery slope of alienation. In order to feel the alienation for itself, we must not prophesize about the scenes to follow. In Veda, this design of alienation is immanent to its structure: there is almost a sacred balance between alienation and immersion – so much so that the alienating stance does not break through the primordial fabric of immersion.

Still on the window, with the hourglass in her hand, another monologue is voiced. While her hands play with the hourglass, the monologue speaks of a time in general. Both the bodies are breathing together in time, they are moving, hence creating time. She is back on the floor with the hourglass now and the monologue fades into a soundscape of movements in spacey waters. Time is not linear, and therefore the narrative as well. At best, one can see Veda as a juxtaposition of impressions on a slippery floor of discourses on childbirth, population, time, nature, and desire.

Drumbeats follow and she’s playing with the hourglass lying on the floor. She slowly rises from the floor, squat. One cannot but be a part of this shamanic ritual. She’s the dancer of choices between the realms of living and coming-to-life. She has time on her hands, and it is by choice that she’s dancing. Her ritual is the dance; it purges her being off the dust of everyday sleeplessness. In this purge, intimacy is born again. She has opened herself again to the state of feeling, she can breathe again. This is expressed in the monologue, that follows the ritual. Her dance has evolved into unmediated expression, the seat of art itself, and has found the sublime.

She is able to FEEL the life breathing in her, which is not just a number to the populous generality. In her expressions of a joyous monologue, the film camera moves all around and retreats into non-existence focused at the hourglass on the floor. Very abruptly indeed, Veda

concludes with end credits displayed on a black screen. There are no resolutions to the general kind. But as far as art is concerned, her stance in the living world is that of dance. It is a liberation to discourses and demands in general. If one could paraphrase in Nietzsche’s words: Veda is that slippery realm, which is a paradise for those who know how to dance.




METAPEACOCK An Infinity Piece

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METAPEACOCK An Infinity Piece is conceptualized to be a collection of performances in constant transformation. That intent to create live site-specific performances/installations living in the future as photo series and video installations.


To transform, to transcend, to metamorphose, to escape from common narratives, and embrace your inner self-images. Open gates into a prismatic point of view.



METAPEACOCK II ( Reborn “IT” with Samuel Beckett) @ FESTIVE PREP FOR THE FINISSAGE, Berlin, GERMANY, 2020

Concept, Performance, and installation by Lola Lustosa. Ambient Music: Laura Leiner and Simon Rose. Video Documentation: Joseph Devitt Tremblay. Second camera: Alexander Norton.



The video Documentation was part of Lange Nacht der Bilder, Berlin, GERMANY, 2020

METAPEACOCK III metaphysical clash @Raum für Raum, Berlin, 2022

METAPEACOCK III metaphysical clash. Peace and fertility Fauno vibes with … us. In memorial of the Souls of Nijinsky and Claude Debussy.

Performance by Lola Lustosa and guests: Tsuki Berghain & Akkamiau

Video: Lola Lustosa

The project is looking for new venues, art residences & new forms of media exposure.

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Big Dada – audiovisual coreography coming up in collaboration with Ana NastasiaAnna HäkkinenTabula RasanenLauri IsolaIlmo Paukkunen, Pilvari Pirtola, Sarana and Samuli Häkkinen. “Big Dada” – @ Asbestos art space 18.6 19.6 &20.6, Helsinki, Finland.


Work in progress Part 1 Splatter is the first project of the BROKEN LOOP collective and has been shown at Plataforma Berlin Iberoamerican Festival at Verlin and Deviation Festival, curated by Musterzimmer, at Acud Macht Neu, Berlin. 2018. Also part of Big Dada, asbestos gallery, Helsinki (FIN), 2019 The work is a free deviation and it proposes a loop structure studying with slide projections and recording sounds loops on stage. The soundscape is combined with theatrical gestures resulting in trance/psychedelic sessions. Concept: Broken Loop Performer/Text/ sounds/ Loop: Lola Lustosa Sounds / Loop: Jarkko Räsänen Lights / Loop: Anastasia Alekseevna


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Photo documentation: Paco Justicia


Alejandro Chellet & Lola Lustosa 

Light: the essence of life and the source of growth.
Darkness: a departure or arrival point for life or death.
Surprise: the factor of destiny or karma.

Alejandro was invited to 22cubic residency at Materic in Barcelona where he researched the universal darkness, light and surprise. During his creative process he studied and played with the light already in the gallery coming from the street. He then built a dark cube and stayed inside for many hours isolated with no contact to the outside world and no light stimuli apart from the visions sought from the inside. During this process he questioned himself: How far can we go? Where does our body, spirit and mind ends? What exists at the edge of everything? Is there such thing as body’s limits, gender limits, lifestyle limits, perception limits and even the limits of love itself?

Alejandro met brazilian artist Lola Lustosa in Morni Hills Performance Biennale in India, since then they began an artistic partnership. During 22cubic Alejandro´s residency he invited her to co-create this public performance for which she also conceived an installation of prismatic lights and its perspectives.
They offered an interactive performance piece that invites the audience into a cosmic experience of time travel. Everyone comes into a dark degrade space followed by a pitch black cube. This performance creates a space where the public experiences multiple emotions and surprises, photo memories from the prismatic lights,  displacement from its own body and ultimately embracing complete darkness in collective breathing.

Dark research/ motive/ poem/ performer/ concept: Alejandro Chellet
Prismatic lights and its perspectives in movement/ poem/ performer/ concept: Lola

The artists elaborated this text shared during the performance:

“ Nigrum, Nigrius, Nigro”

El deseo de ver

Miedo de la muerte

Lo que está dentro está fuera y lo que está afuera esta adentro.

Porque  el negro es tan prejuiciado ?

El mundo invertido

La profundidad de la perspectiva el abismo



El sol es obscuro, sus rayos son obscuros y la luz es su revés. Los obscuros y la luz es su revés. Los rayos amarillos son apenas lo que el sol nos envía.

La profundidade de una imagen nos lleva a participar de la profundidad de nuestro ser.

El devaneo.

El negrume secreto de leche.

(Poem based on extracts from the book: La Terre Et Les Rêveries Du Repos, 1948. Bachelard, Gaston.)


At Materic, Barcelona, 2019

For this collaboration, Lola Lustosa counted with support from Graner in Barcelona. 2019


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