In Tightrope/Cuerda Floja, summon the shadows, apparitions and voices of the disappeared; an invitation for us all to participate in a communal act of remembering. with Radwan Moumneh and Alexis O'Hara: Tightrope/Cuerda Floja

Slow Falls is a work for three dancers who mark increasingly slow descents down a building exterior over the course of 100 minutes — the shortest “fall” lasting 5 minutes, the longest 50.

Abigail Levine: Slow Falls

Created from experiences with the Irmandade de Nossa Senhora de Rosário de Justinópolis/MG, this interactive performance seeks to provoke reflection on the weights and lightnesses that we carry with us, through the lens of popular religion and African ancestry, revealing aspects of the arduous trajectory of Afro-Brazilians.

Andrea Soares: Descarrego

Although it depends on the individual, one of this species can “carry up to 4 kg and travel 7000 km without resting.” In ideal conditions this type of equine can carry up to 30% of its body weight. The superiority of this species becomes apparent in their additional endurance and fearless performance.

Carlos Monroy & Iza Monteiro: Aesthetics of Desire: 12 with Iza

Cabaret collage by Alina Troyano, writer and creator of the Carmelita Tropicana persona. In the eighties Carmelita was described as a “Carmen Miranda cloaked in dangerous fruits.”

Carmelita Tropicana: The Muses

O documentário cênico Luis Antonio – Gabriela tem início no ano de 1953, com o nascimento de Luis Antonio, que passou infância, adolescência e parte da juventude em Santos até ir embora para Espanha.

Cia Mungunzá: Luis Antonio - Gabriela

Potestad ame out of the post-graduate research work of two professors (an actor and a director) around the exploration of psychic states and the question of political identities during the time of Argentina’s dictatorship. We seek to provoke memories in a country that has few memories.

Coletivo Teatro da Margem & ÁQIS: Potestad

Dozens of male and female executives, dressed in business attire, carrying suitcases, bags, cell phones and documents, covered in mud, blindfolded, walk very slowly, blending in with passers-by, destabilizing the daily flow of the city’s financial and political center. The performance is by Desvio Coletivo and Coletivo Pi, based in São Paulo. Blind seeks to politically intervene in the city and provoke different readings.

Desvio Coletivo & Coletivo Pi: Blind

This work puts word and writing in relationship to each other as a violent act, by a man who never learned to read and write. The story tells of his desire to understand the spoken word. The son writes in the voice of his father and the father does the same, but on the body of the son, simultaneously: “The body, the father, and the son, like the stigma of not knowing”.

Gonzalo Rabanal: A Being Said, To Be A Name

This performance contemplates materiality while confronting a symbol of power, the business suit.

Johannes Zits: Transforming a Suit

A bureaucrat from the Department of Hopes, Dreams, and Fears processes and evaluates people’s submissions in a series of absurd ways; censoring, annotating, footnoting, cutting, folding, crushing, twisting, burning, inhaling the smoke of the burned document to evaluate its smell...

L.M. Bogad: Paperwork: Department of Dreams, Hopes and Fears

Live art durational performance which dialogue around the possibilities for and models of contemporary North/ South artistic and theoretical collaborations.

La Pocha Nostra: Corpo Insurrecto

The Spoken World is a full evening of performance with United States Artists Rockefeller Fellow and 2011 Alpert Award winner Marc Bamuthi Joseph. Through choreopoem, Joseph articulates the story of achieving manhood in the United States through the lens of hip hop, global travel, and urban environmental health.

Marc Bamuthi Joseph: The Spoken World

Performative dialogue between fragments of testimony made by migrant women in Santiago and the body of the performer in order to create a “corporamic” view of immigration in Santiago.

María José Contreras Lorenzini: Santiasco

Clad in skimpy Speedos, Estévez embodies Machete, a male vedette who dances night after night during the Encuentro, and whose marathon-like action poses the questions: The more Machete dances, what? The More Latin America dances, what? The more one watches Latin America dance, what? Cockiness and humor collide in a pulsating endurance piece that runs the risk of succumbing to exhaustion.

Nicolás Dumit Estévez: The More I Dance

DystoRpia Project is a new media installation created with everyday technology that serves as a small communication platform for performances.

No Media Collective: DystoRpia Project

Mestizo Orpheus tells of the return of a politician to his past and his connection to military dictatorship. A phone call about the disinterment of the body of his companion, Eurydice, puts Orpheus in contact with a past that he has tried for years to forget.

Núcleo Bartolomeu: Mestizo Orpheus

The history of humanity has remained inscribed on the bodies of Latin American women. On their bodies— conquered, marked, enslaved, objectified, exploited, and tortured—one can read the terrible stories of power and struggle that shape our past.

Regina José Galindo: Piedra

This is a collaborative performance that is part of the DystoRpia Project by No Media Collective. We understand this production as striving to create a positive, respectful and safe space where activists and artists support each other in their inquiry, and can adapt the sandbox model to their own needs and circumstances in the future.

Roberta Buiani & Alessandra Renzi: The Sandbox Project

A sewing machine that “writes” affective embroidery with its invisible and visible thread. A chair that carries imagepresences. A blackboard. A shirt. Preparation as we wait for an (im)possible visit to the workshop. A measurementtaking and the study of a shirt.

Simone Mina: Un_Threads

Directed by Antonio Araújo, this play seeks to use urban space as a field of artistic experimentation. It takes the audience on a performative walk through the São Paulo neighborhood of Bom Retiro, participating in an urban route that includes a shopping mall, streets, sidewalks, crosswalks, and an abandoned theatre forgotten by the city’s inhabitants.

Teatro da Vertigem: Bom Retiro 958 Metros

A theater piece that explores the theme of urban violence in a country without a declared war, but whose citizens are submerged in the paranoia generated by the security industry.

Teresa Hernández: Courage II

What creative process does an actor undergo to arrive at a performance? How does she construct a stage language to bring the performance to life? How do the director and the actor enter into dialogue to stage “Antigone”?

Teresa Ralli: Disassembling Antígona

Inspired by the concept of the b-side, paradoxically defined as the “less important side of a record” as well as a “way to add value” to a pop single, these dances encourage collaborative listening through active participation.

The Movement Party: B-Sides

The performance Where? Action nº2 provokes, in poetic form, reflections on our recent past and the still-open wounds suffered during the military dictatorship.

Tribo de Atuadores Ói Nois Aqui Traveiz: Where? Action #2

Requiem is a performative intervention, by way of ritual, to remember the murders committed during the “war on drugs” initiative implemented by Mexico’s central government. Requiem is an attempt, from the realm of performance art, to open with a coroner’s knife the discourse of death put forth by those in power under the guise of “national security.”

Violeta Luna: Requiem for a Lost Land

In this performance, voices— generators of spaces, identities and interactions— are also perceived as part of a contemporary sonic landscape characterized by fragmentation and the increasing interpenetration of public and private spheres.

Wânia Storolli: Voices in Transit

Bountiful is the third part of the Black Dirt Cycle, a series of locally-rooted plays about soil, immigration, and time, created in partnership with farm workers, farmers, and artists of New York’s Black Dirt Region.

Will MacAdams: Bountiful