Inventory is a site-specific solo exhibition in which I turn my home into an art gallery, presenting pieces created with and from my personal belongings and the house itself. Investigating subjects such as functionality, the ephemeral, affection and displacement.
LA PLASTI CIUDAD DEL CUERPO (2023)
In "La Plasti Ciudad del Cuerpo" the artist Amanda Gatti activates one of the external spaces of the Antonio Pérez Foundation (Spain) with the idea of "dressing the city", in a notion of inhabiting this place as an installation. By incorporating objects/materials collected from the streets into the body, a functional displacement of these objects is produced, which, sometimes added together, establishes an excess, a visual accumulation characteristic of the urban environment. It is about exploring the possibilities of using these leftovers (those that we discard and depreciate), producing and evoking architectural figures.
NOS.OTROS WORK (2023)
Father and daughter live a continent away from each other. Amanda is a performance artist and currently lives in Spain. Mauro is a civil engineer and has lived in Brazil all his life. Since she left Brazil, more than 3 years ago, Amanda has been talking to her father through spontaneous video calls, but there's a catch: he is always working. Mauro works from Monday to Monday. However, work and different time zones don't prevent them from talking - in a way, that's the way they maintain their bond.
CARNE VIVA / LIVE FLESH (2019)
A live performance created and executed by the artistic duo Amanda Gatti and Pedro Mendes where the latter perfomed by moving and photographing while blinded by a mask. An excercise in voyeurism and sensoriality inspired by Surrealist imagery that aimed to both shed a critical light and provoke a rupture on the typical behaviour found in the enviroment of a nightclub - the place were the performance happened.
WHO'S NEXT? (2019)
As a performance created to happen in a nightclub, it takes inspiration from the cult film "Liquid Sky", by Slava Tsukerman. Bringing elements of transformation through makeup, the performer carries with her the head of a mannequin while she regurgitates an ironic text about conservatism, capitalism and the artistic medium.
The performance was presented during the homonymous exhibition ''Escape'' curated by Fagner Damasceno. The work combines physical and sound movement. The blood that pulsates from the veins and leaks over the skin. The things we hold on to and the moment we need to escape from them. Inspired by Butoh expressiveness, also know as"Dance of Darkness", in reference to the unknown that surrounds the body. Sound installation by sound engineer André Di Napoli. Costume design by Sergio Amaro - later exhibited as an installation with an intervention by the artist Pedro Matsuo.
A performatic dance inspired by the technological melody of the german band Kraftwerk, merged with an expressionist aesthetic and a strobo-lighted choreography based in slow-motion movements. The site specific performance happened a nightclub (Bar Ocidente) and a gallery (Acervo Independente) in the South of Brazil.
LADDER, DUCT TAPE, CLOTHES (2023)
A performance that explores an idea of "body sculpture" featuring two female performers embedded in objects or objects embedded in their body, improvising with conventional notions of form and function.
VANILLA UNDERGROUND REDUX (2023)
16mm short film
Shot on 16mm. The film follows Brendan, a man who struggles with his identity after a sexual encounter with a male prostitute takes an unexpected turn. Vanilla Underground explores the ambiguity of human sexuality and the thin line between pleasure and violence, specially when these are contained in the same experience or expressed in similar ways.
YELLOW CAGE (2020)
An experimental work blurs the lines between film and video art, flirting with the horror cinema and exploring a dreamlike aesthetic marked by symbolic imagery and fragmented editing, as well as an organic and atmospheric soundscape. Inspired by the emblematic feminist horror tale, "The Yellow Wallpaper" by Charlotte Perkins Gilman; the artwork explores themes such as feminism and mental health.
A young woman travels alone in the south of France and Catalonia (Spain) recording everything she finds on her way. She has only two certainties: she must visit the Museo del Cinema in Girona, and the train station of La Ciotat - the place where the Lumière brothers shot what is considered by some the first film ever made, "Arrival of a train at La Ciotat" (1895).
A LETTER (2015)
film essay - 4'16"
Months after her grandmother passed away, Amanda, still a teenager at the time, records banal things from her grandfather's routine. A family lunch, the washing machine working, the backyard and its rose bushes, and grandfather's traditional cake. The voice of Amanda's mother and father can also be heard in the background.
ongoing photo series
An architecture in transformation. Or part of an architecture in transformation. An elevator will be installed in the building where the artist lives in Madrid. Amanda has been registering the process of what this place can and will become. She takes a picture a day.Will it change anything in her routine? Will she insist on going downstairs? Will the building be the same?The project started on June 4, 2023
AFTER MYSELF (2023)
A personal essay that combines documentary with experimental cinema and explores universal themes such as memory, nostalgia, and grief through archival footage from the director's childhood.
MY BODY IS NOT YOUR COUNTRY (2022)
A solo performance by Marta Bonito that echoes stories of different women in a reflection about how migration influences our lives. It is about identity, borders, displacement and the female body, where poetic landscapes meet autobiographical experience, featuring an all-female creative team.
TRANSVERSAL DERIVE (2021)
In search of new territorialities, poetically disobeying spatial logic, three artists, even if physically separated, found themselves in a digital space and travel through a path from Fortaleza/Brazil (from the Centro Cultural Dragão do Mar to the statue of Iracema Guardiã) transposed to their own cities (Porto Alegre/BR, Farroupilha/BR and London/UK) without knowing exactly which street they will pass by, for how long they will walk or what will be the point of arrival equivalent to the “Iracema Guardiã” statue, offering themselves to the unpredictable.
BORDERS - TERRITORY OF RUPTURES (2020)
The video art was collectively and remotely created, using digital platforms by the two Brazilian artists Amanda Gatti and Gustiele Fistaról. They proposed to demystify the term "border", seeking through the performance, to expand the understanding of the term, which carries in the first moment, a slight association with the historical records of territorial wars and geographic limits.To this end, the artists started from the collection of audios in which people answered "What is border for you?" and also the physical image - moving body, body parts - considering the body as the main border.
BORDERS IN MOVEMENT (2020)
The video art started from the premise that "borders are not fixed, they move". The artists drifted guided by devices - which determined specific movements such as change of direction, speed and duration of the action, previously established by them: Amanda on the streets of London and Gustiele on the streets of Farroupilha (Brazil), connected through a video call.
What does "Andorra" mean? “Andorra” is a concept, in fact, the essence of a concept, if you know what that means”, says the doctor in the homonymous play by Swiss writer Max Frisch. Literary critic Joachim Kaiser wrote "Andorra is the name of a model: it presents the process of a change in consciousness". The first action that started the project to occupy the wall of the Goethe-Institut with the objective of promoting art in the public space was subject to strong negative criticism and censorship, but it also had the support of important institutions and people working in the artistic scene and defenders of freedom of speech.