​Aline Fátima | Brazil
 
Aline Fátima is a Brazilian artist who works in several platforms and languages. She is a filmmaker, performer, cultural producer, and writer whose research involves contemporary and traditional urban black cultures, mythologies, samba and peripheral imagery, and fissures between the sacred and the profane.

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Neomedusa vai bailar | 2021
 
At the turn of 2020 to 2021, Brazil already had more than 200,000 deaths caused by COVID 19. However, there were agglomerations throughout the country, including in the periphery, but not only there. "Neomedusa vai bailar" was a performance held in Guaianases, on the outskirts of São Paulo, at the traditional (even before the pandemic) dance on Rua do Meio.
The Neomedusa persona, the alter-ego-entity-aesthetic of the artist Aline Fátima, arrives in this environment to dance and cause estrangement and rupture of pattern based on her dance (discordant, however, "dialogue") and her appearance.
The performance "in loco" was recorded on video and transformed into an audiovisual work. The ambient sound was kept because the artist was interested in every aesthetic expression (musical, body, etc.) that emanates from dances and quebrada flows.
"Neomedusa vai bailar" is a criticism of the hypocrisy that criminalizes peripheral youth, but absolves the elites and the absent State, indifferent to social ills. A danced critique of the necropolitics that rules our times and a compliment to the inexhaustible source of peripheral culture.The question that sets the tone for the performance is "what can a peripheral dancing body do?"
Please note: This video contains lights, sounds and effects that may pose a risk to people with a history of seizures.
 
Datasheet:
conception, direction, assembly and performance: Aline Fátima
photography: Alline Bianca
production: Analu Maciel
production support: Carl J and Victoria Oliveira
 
VIDA PIXO | 2021
 
Graffiti, with “ch”, is a word that describes every act of vandalism in public or private buildings with “scribbles and other writings”. It is a crime subject to fine and imprisonment. But it was in the city of São Paulo that, approximately 30 years ago, a movement of protest and social criticism emerged - often confused only with rebellion - called pixação, with an “x”. Composed, in a remarkable majority, by young people from the outskirts of the metropolis, they are configured in groups (or crews) that dispute spaces in the buildings and facades, in which they leave their marks through spray and characteristic letters. The specificity of each typography, the bodily performance in climbing tall buildings, risking their lives (and often losing it), the content of contesting the social status quo, among other characteristics, gave the graffiti the character of a cultural (or countercultural) movement. , if you prefer). It is currently considered an artistic expression within academies, museums and art galleries.
The work is an audiovisual record of a building located in Cidade Tiradentes, a neighborhood in the extreme east of the city, where the artist who made her life and grew up to this day. Nobody in the neighborhood can say for sure what works there, some say it is Sabesp, others that it is a telephone company. Although well maintained and little frequented, it is known that it is an active place, something is carried out there. And, despite being “inhabited”, for years it has had huge graffiti on its facade that can be seen from afar. From the collection of phrases and nomenclatures present in these graffiti, the artist Aline Fátima built an imagetic and poetic script to criticize the subject and the glaring social inequalities that constitute Brazil since the colonial period (which lasts until today). For this, she creates word games, which, just like in graffiti, become the visual raw material of expression. The building of the unknown institution is an intruder in the quebrada, the graffiti reveal that.
Designing a building with graffiti in other spaces (walls, houses, etc.) is to displace a social conflict that, like other situations brought about by the pandemic, used to concern only the streets, the “other”. However, in the contemporary pandemic, all borders have been blurred, erased and are being (and should continue to be) reconstructed with a new look, reflecting the understanding of what is public, what is private and the role of the subject in maintenance or transformation of the collective.
 
Datasheet:
Script, photography and editing: Aline Fátima
Original soundtrack: Aline Fátima
Narration: Aline Fatima