Túlio Rosa

La semana pasada presentamos Al borde del archivo: hacia una estética reparativa de la memoria en el Centro Cultural España Córdoba. En conversación con Pantera Villalva @pantera.villalva , y con mediación de Danielle Rodrigues @masquesedani y Talma Salem @talsalem , compartimos preguntas alrededor del archivo, la memoria, la fabulación crítica y las prácticas reparativas como formas de aproximarse a historias marcadas por violencia colonial. El encuentro cerró una semana muy especial de actividades en Córdoba, que incluyó conversaciones con grupos de investigación de la UNC y una clase como invitade en el Taller de Investigación en Artes, a cargo de Cristina Siragusa @acristinasiragusa , junto a más de 40 estudiantes de Teatro y Música. Fue muy significativo compartir este trabajo en una universidad pública, junto a estudiantes, artistas, docentes e investigadores, en un momento en que en Argentina se sigue luchando por los presupuestos universitarios y por la defensa de una educación pública construida históricamente con tanta fuerza y tanta lucha. Gracias a la Cátedra Libre de Cultura Brasileña (FFyH – UNC) @catedra_libre_cultbras_unc , al equipo Desde las Prácticas / CePIABIERTO-UNC @cepiaunc , al Centro Cultural España Córdoba @ccespanacordoba y a Gabriela Cornet @gaby.cornet por hacer posible este encuentro. Gracias también a ACPA / Academy of Creative and Performing Arts @acpa_leiden por el apoyo y por hacer posible mi presencia en Córdoba.

Así fue ‘H(a)unting Songs: Hunters, Hammocks and Radio’ de Túlio Rosa en Réplika Teatro 🔊🐅🌱 ‘Estructurada a partir de la tensión entre la intimidad del apartamento y el mundo que presiona desde el exterior, la performance mantiene en fricción infraestructuras extractivas, sistemas digitales y materiales vernáculos, trazando continuidades entre la extracción colonial y las infraestructuras materiales de la inteligencia artificial.’ Pieza creada e interpretada por Túlio Rosa (@dotulio ), Matte de Blasio (@chez_matte ) e Italo Tavares (@tornletters_ ), con música de Wiet Lengeler (@wietlengeler ), dramaturgia de Lore D’Selys (@unsteady_studies ), iluminación de George Marinov (@george_marinov ), desarrollado en estrecho diálogo con Dina Mohamed (@dinatoh ) (nuestra asesora y cómplice especial en IA), producido por Felipe Bosch (@fe.b3 ), con la colaboración de Flavia Pinheiro (@flaviapinheirofp ). Estreno en @replikateatro Proyecto cofinanciado por la Unión Europea a través de @digitalonstage_project / Fotos de Maru Serrano

Central elements in the piece, the hammocks and the radio are not only symbolic. Through their texture and materiality, they evoke histories we sometimes, unwillingly, prefer not to recognize. The hammocks are an index of the many forms of appropriation that compose domestic space. An object marked by displacements and misplacements, still able to hold an ambiguity that feels like a powerful reflex of these complex entanglements. The radio was one of the ways Il Guarany — a kind of nationalist Brazilian opera sung in Italian — became ingrained in the public imaginary. Historically, the importance of radio is tied to the ways ideas of nationhood, land, and people were shaped and made to circulate, and it becomes, for us, a reference to AI’s persuasive and potentially manipulative power. I’m extremely happy and grateful to be working with such a beautiful and generous group. For me, this is not only the end of a cycle, but also a very special moment to celebrate the trust, desires, friendships, and the many sleepless nights that made this possible. In the middle of all the challenges, there is a real joy in seeing things come together. We premiere today at @replikateatro at 19h, as part of the programme of @mmmad.art . My most sincere gratitude to the festival for the support throughout the process, and to Replika for the generous hosting. H(a)unting Songs: Hunters, Hammocks and Radio is created and performed by Matte de Blasio (@chez_matte ), Italo Tavares (@tornletters_ ) and me, with music by Wiet Lengeler (@wietlengeler ), dramaturgy by Lore D’Selys (@unsteady_studies ), light by George Marinov (@george_marinov ), developed in close dialogue with Dina Mohamed (@dinatoh ) (our special AI advisor and accomplice), produced by Felipe Bosch (@fe.b3 ), with collaboration from Flavia Pinheiro (@flaviapinheirofp ). H(a)unting Songs is co-funded by the European Union through @digitalonstage_project / Cascade Funding Programme.

Este fin de semana llega a Réplika Teatro tres jornadas de performances y live a/v shows organizadas x @mmmad.art . Bajo el lema “Condiciones de Uso”, la edición 2026 de MMMAD Festival reúne una serie de prácticas artísticas que exploran cómo los cuerpos, las tecnologías y las ecologías contemporáneas se configuran mutuamente dentro de sistemas complejos que ya habitamos. 𝟭𝟳, 𝟭𝟴 𝘆 𝟭𝟵 𝗱𝗲 𝗮𝗯𝗿𝗶𝗹 𝐜𝐨𝐧𝐬𝐢𝐠𝐮𝐞 𝐭𝐮𝐬 𝐞𝐧𝐭𝐫𝐚𝐝𝐚𝐬 𝐞𝐧 𝐧𝐮𝐞𝐬𝐭𝐫𝐚 𝐰𝐞𝐛 El viernes 17 de abril podremos disfrutar de dos performances, entre ellas, la performance híbrida en vivo/IA, llamada H(a)unting Songs: Hunters, Hammocks and Radio de Túlio Rosa @dotulio y la performance audiovisual de Tadej Droljc @tadejdroljc titulada Osmotic Bodies. El sábado 18 de abril podremos disfrutar de la performance Neuroprision del artista, matemático y compositor polaco Robert B. Lisek @robertblisek El domingo 19 de abril podremos disfrutar de la performance <([“Á”1653 “gora” · L· 23035] )> de Carles Castaño Oliveros @c4158chestnut3olive3 & Sau-Ching Wong @thisis_sauching 𝑜𝑠 𝑒𝑠𝑝𝑒𝑟𝑎𝑚𝑜𝑠 <𝟹

H(a)unting Songs departs from the choirs of Il Guarany to think about how collective imaginaries about land and people are produced and sustained throughout time. It is not difficult to listen to the choir of the hunters, praising the bravery of those who entered the forests to destroy the “wild beasts”, and think of the bandeirantes or the bugreiros... figures of a violence that repeats itself throughout Brazilian colonial history, and its counterparts elsewhere. This kind of temporal fold between past and present, sometimes as mirror, sometimes as shadow, is one of the things that mobilized me the most in this project. The title itself plays with that. In the piece, the hunters are these figures that end up becoming us, that emerge through these synthetic skins, translations of “the wild” mass-produced for shopping malls and carnival hangovers Here are some images from our residency at @kunstencentrumbuda . Pics are by Mantra (@mantrawhat ) and by me. H(a)unting Songs: Hunters, Hammocks and Radio premieres next week, on 17 April, at @replikateatro in the context of @mmmad.art , and was created together with Matte de Blasio (@chez_matte ), Italo Tavares (@tornletters_ ), Wiet Lengeler (@wietlengeler ), Lore D’Selys (@unsteady_studies ), Dina Mohamed (@dinatoh ) and Felipe Bosch (@fe.b3 ). H(a)unting Songs is co-funded by the European Union through @digitalonstage_project / Cascade Funding Programme.

Despite everything moving so fast, it feels like we just stepped into the rehearsal room and started imagining what this could become. At the end of last year, I received a grant to develop a research I’ve been working on for some time into a performance. Working through fragments of Il Guarany, we spent a few weeks immersed in opera librettos, notes, prompt systems and radio references, trying to understand how these different elements could hold together. And now, somehow, there is a piece. We premiere next week at @replikateatro in the context of @mmmad.art These images are from our first working period in January, at @a.pass_artistic_research / La Bodega, in Brussels. [More to come ;-)] H(a)unting Songs: Hunters, Hammocks and Radio is created and performed by Matte de Blasio (@chez_matte ), Italo Tavares (@tornletters_ ) and me, with music by Wiet Lengeler (@wietlengeler ), dramaturgy by Lore D’Selys (@unsteady_studies ), developed in close dialogue with Dina Mohamed @dinatoh (our special AI advisor and accomplice), produced by Felipe Bosch (@fe.b3 ), with collaboration from Flavia Pinheiro (@flaviapinheirofp ). The images by the lovely Mantra Watsa (@mantrawhat ). Very grateful to all the people and places that made this possible. H(a)unting Songs is co-funded by the European Union through @digitalonstage_project / Cascade Funding Programme, and was developed through residencies at @kunstencentrumbuda , @a.pass_artistic_research and CC García Lorca.

…and the world keeps spinning! Exactly a month ago, we concluded AFTERIMAGE — a very beautiful gathering, built slowly over several months out of a desire to foster spaces of sharing and collective thinking. It was deeply meaningful to engage more closely with the work of Emma Ydiers @emma.64321 and the histories of lesbian publications that feel so relevant to the conversations currently unfolding across queer communities; to test new ways of writing and scripting together with Simon Asencio @simon.asencio ; and, together with them and Paoletta Holst @paolettaholst , to sit with questions of authorship, positionality, and collectivity through the lens of Eve Kosofsky Sedgwick’s proposal of the reparative — which has been vital for me, and for many others, in finding pathways out of the enclosures of critical discourse. The curatorial contribution of Sandra Benites @sandraarabenites grounded these questions in a different register, insisting that memory, repair, and futurity cannot be thought apart from land and from forms of life that precede and exceed the institutional spaces we move through. The images are part of super generous and sensitive documentation made by Anna Lugmeier @applebacon1990 who accompanied us across the two days and is also preparing video materials we’ll be able to share soon. AFTERIMAGE took place at WIELS @wiels_brussels , on 19–20 December. Our deepest gratitude to our partners, collaborators, and to everyone who shared time, attention, and care with us across the two days.

We’re happy to finally share some pics from the first day of AFTERIMAGE. A big thank you to everyone who joined us, and especially to our guests Angga Cipta (@acipdas ), Setareh Noorani (@unfolding_something ), Otty Widasari (@ottyrancajale ), and Forum Lenteng (@forumlenteng ) for such a generous sharing. AFTERIMAGE unfolded across two days at WIELS (@wiels_brussels ) through encounters, exercises, conversations, and shared listening. What began months ago as small try-outs expanded into a collective space for thinking together — reading, tracing, narrating, and re-assembling archives as living, contested materials. 📷 by Anna Lugmeier (@applebacon1990 ) <3

PARTNERS IN CRIME • They say the algorithm works better when there are pretty faces involved so this is just to remind that we are starting the second day of AFTERIMAGE @ Wiels. Check the program. Link in bio 😉

Next week at WIELS, join a gathering on Memory, Archives, and the Reparative. Organised by Paoletta Holst and Túlio Rosa across two days, AFTERIMAGE will open a space for thinking-with and working-through archival material: tracing how memories circulate, how they are held, troubled, or re-composed, and how collective gestures of reading can move toward something like repair. The programme unfolds through work sessions, roundtable conversations, and film screenings at WIELS and GC Ten Weyngaert (Forest). Work sessions require registration: [email protected] With contributions by Setareh Noorani @unfolding_something · Otty Widasari ottyrancajale · Forum Lenteng @forumlenteng · Angga Cipta @acipdas · Simon Asecio @simon.asencio · Sandra Benitez @sandraarabenites · Emma Ydiers @emma.64321 Supported by @wiels_brussels · @thatmightberight · @ugent · @fwo_vlaanderen

No último dia 27 fizemos uma compartilhamento do processo do projeto Contra-Canção / H(a)unting Songs no @chaoslz . Foram três semanas de residência, muitos encontros lindos e um processo extremamente rico e potente. Só me resta agradecer imensamente à equipe do Chão — Thadeu (@thadeumacedo ), Samantha (@sazinhamoreira ) e especialmente Dinho (@dinhoaraujo_ ), que mais de uma década depois voltou a me acolher e a compartilhar essa rede-cidade de pessoas tão lindas e generosas. Aos contra-cancioneiros, Angel de Palmar (@aatryb ), Carlo Souza (@saracajura ), Gabriel Lopes (@vgabrielpz ), Nilson (@nilsonilsonilson ), Thiago Kalebe (@tchallakalebe ), Yasmim Ohana (@yasmimohanaa ), gratidão imensa pela confiança, abertura e entrega. Foi gostoso demais estar com vocês! E obrigado, Alan Rodrigues (@caosinfinito ), por esse registro incrível da noite! Contra-Canção é parte do projeto H(a)unting Songs, e tem apoio do Governo de Flandres, através da bolsa para residências artísticas.