Mario Lopes (BR)

Mario Lopes is a choreographer and articulator. His works include: „VRUM(2009)“, „a cidade se move(2010)“, „vrumvrumzinho(2011)“, „ENTRE(2012)“, „TREPP(2013)“, „Movimento I, parado é suspeito(2014)“, performance „Keller(2015)“, „Re_sistir_existir(2016)“, „ALBUM kodex_feedback“(2017)with Mexican choreographer Martin Lanz, “Movimento II, Kodex_Konflikt”(2018), “Deslocamento como coreografia”(2019) with creators Marcela Olate, Thais Ushirobira, Maelys Meyer and David Muñoz and “Movimento III_Celebration”(2020). Mario Lopes is a PlattformPLUS articulator/coreographer since 2008 and executive partner of HumaVida Produções/São Paulo. The curator and artistic creator, choreographer and performer, Mario Lopes believes that his activity can be defined by the expressions articulator-choreographer .

and choreographer-articulator, in the sense that they highlight the fundamental idea of articulating bodies, spaces, ideas and people.

For some years now, Mario has been researching and investigating “conflicts of social norms and foreign bodies,” a work that goes in search of mobility, encounters, crossroads and compositions, social norms and their repercussions on the body and movement. Moreover, he constantly seeks to recognize, despite distances and differences, other ways of creating, convergences of ideas that help to displace his own actions. Although this coming and going does not always imply the cognitive openness necessary for the apprehension of other worlds, the force of the act is to position oneself within the reach of the senses: for him, to dislocate the body is to expose oneself to sensations not yet experienced. The contact with diverse realities, together with the occupation of different architectural spaces and the relationship with those who live here/there are opportunities for the acquisition of knowledge, for one’s own strangeness and for artistic creation from renewed points of view at each moment.

Within a cultural market, with its formatted and pre-established spaces, Mario perceives himself as a foreign body. His self-taught training in cultural management and choreography puts him in this place in between, making him constantly readapt, demanding well-articulated movements.

The anatomic terminology of “articulation”, already cited, not only makes clear the existence of a device that connects the parts of the human body, making it a unique piece, but also highlights the intermediate state, constituted as a point of union that guarantees perfect union and mobility to all the connected parts of the body. Bringing people together and proposing movement is the function it sees itself performing with consciousness and continuity. 

As a choreographer, Mario knows the physical principles, so he can suggest and activate spaces that, through a specific shape, organize bodies, objects, sound and light. Thus, in his curatorial work and as a platform creator, he considers, as his main role, to be an articulator-choreographer. For him, the choreographic articulation creates spaces of interference and allows the encounter, sharing, conflict, reflection, displacement and construction of other narratives. In this way, he seeks to build spaces of collectivity, residencies of coexistence, entangled localities and mobile formats for sharing practices and responsibilities.

As a choreographer and performer, Mario invites other bodies to interfere in his investigation of a physical body state. He constantly forces himself to experience displacement and unfold the choreographic process in various stages. The social and historical inscription in his body is a starting point to challenge established formats of performativity, resulting in an artistic creation that challenges and, at the same time, challenges and passes through the aesthetic sieve, pre-established by the system, configuring an art that, by taking into account the whole individual, does not despise emotions and, thus, surpasses defined forms, rules and boundaries.

Maëlys Meyer (FR

Maëlys Meyer is a filmmaker and articulator, born in Le Blanc-Mesnil (FR), and lives in Lyon (FR). She makes documentary and experimental films, in collaboration with body, theater and performance artists. Simultaneously, she develops her practice as an international cultural articulator, in the search for perspectives about the world from the feminine, and based on old and new narratives, for the deconstruction of norms and the sense of power.

Until she was 24, Maëlys Meyer was a professional basketball player, developing perceptions and body, collective and displacement skills. This context stimulated her interests and choices, diverting her trajectory as a sportsperson to art as a tool for body expression.

She holds a master’s degree in film and audiovisual (2012) from Lumières Lyon II University, which she completed in Brazil through an exchange at the Universidade Federal Fluminense de Niterói.

Since then, between France and Brazil, she has started a cinematographic work that questions and connects these spaces from this intermediate position, which leads her to constantly rethink her practice and displace her thoughts.

In her films, her gaze is directed to memories and identities, languages and sounds – Nabu o vira Lata (2012), Le Pont de Cratyle (2014); But also to bodies as a place of performativity and representativity: Objectif Rio (2016), Capsule de danse (2019).

As a visual artist, she collaborates since 2014 on several choreographic and live performance projects, such as TREPP (2014/Mario Lopes), The Future is Female (2019/Marion Aeschlimann – Nicole Mersey) or 30 (2020/Sylvie Mongin-Algan).

As an articulator she connects the artistic and cultural scenes of France and Latin America. In 2016, she joined the team of the transterritorial and transdisciplinary veiculoSUR platform, an itinerant artist residency that travels from territories in the south to the north. In 2019, she became part of the articulation of the plattformPLUS, art and culture platform, within which she develops new programs, festivals, residencies and meetings in the scope of linking and strengthening the subversive thoughts of different territories through artistic practices.

These projects are motivated by the desire to articulate, connect and make visible ideas and bodies that question the world based on concepts such as declolonial feminism or normativity, in the search for strategies for deconstruction of power, displacement of values, and spaces where there are unique visions, bodies and symbioses.

Ana Paula Mathias (BR)

Ana Paula Mathias (1980) is a Brazilian visual artist, video artist and graphic designer, from São Paulo, based in Lyon, France. Her research crosses cultural and aesthetic-political studies in a decolonial perspective. In her artistic practice, she works with video art, graphic art, music, text and photography. She explores the process of thought involved in the act of weaving the visible and the invisible, of time and memory that shapes our identities. She has a degree in social communication from the University of Campinas (PUC), and worked for ten years as art and creation director. However, in 2014 she began an artistic career that would allow her to explore the many concerns she had regarding issues of racism, sexism, and also mental health, in the expanded field of art and philosophy.

Ana Paula was a resident artist of plattformPLUS at Plus_AfroT (2019) – Villa Waldberta / Munich Cultural Center and in the veiculoSUR (2018) – inter-territorial residence that travels through five countries: Santiago, São Paulo, Montevideo, Lyon and Munich.

She participated as guest artist in the 4th Valongo International Image Festival (2019), 11th edition of the Sesc Dance Biennial (2019) and in the Mostra Cine Curta Brasil – Caixa Cultural with exhibition of her film works “Reverb” (2019), “Sobretudo” (2016) and “Tempo de Cura” (2016). 

She was also selected by FIVM2019 Festival VideoMovimiento – CineDanza Colombia (2019). In addition, she was invited to direct the short film series “Nós Negros” realized by SescTV (2018) and “#180sec São Paulo: Leben auf der Insel” for the 180 Sekunden platform of the Goethe-Institut. She worked as photography director in the production companies Preta Portê Filmes, Olhar Imaginário and Maria Farinha Filmes, and as cinematographer in internet and TV channel – Canal Arte1, Canal Brasil and GloboNews. As a graphic designer, she develops printing, publishing, graphic identity and exhibition projects for art institutions and cultural projects. Currently she is curator of the artist residency veiculoSUR2020/21 and artist/articulator of plattformPLUS, – the artistic programs interface that operates between Brazil, France and Germany.


Achiles Luciano (BR)

Aieda Freitas (BR)

Akiko Matignon «L’Échelle» (FR)

Andrea Arroba (UY)

Ana Luiza Leão (BR)

Anta Helena Recke (DE)

Antonio Ramos (PR)

Arely Pérez Landeros (MX)

Arsène Marquis (FR)

Barbara Foulkes (AR) 

Bernardo Galegale (BR) 

Bruno Rudolf (FR/BR)

Carla Lopes (BR) 

Caroline Ricca Lee (BR) 

Cibele Palopoli (BR) 

Cristiane Zuan Esteves (BR) 

Dandara Modesto (BR) 

Danilo Oliveira (BR) 

David Muñoz Alcântara (MX)

Denilson Oliveira (BR) 

Diane Lima (BR)

Dudu Tsuda (BR) 

Ednaldo Santos (BR) 

Eduardo Pitta (BR) 

Eduardo Marques (BR)

Felipe Gasnier (FI)

Felipe Roque (BR) 

Gabriel Spinosa (BR) 

Grace Passô (BR) 

Graziela Mantoanelli (BR) 

Guinho Nascimento (BR) 

Gustavo Vaz (BR) 

Gabriel Castillo (VE)

Giovana Esposito (MX)

Iagor Peres (BR)

Ignácio de Loyola Brandão (BR) 

Isabel Hölzl (DE/BR) 

Ivan Insunza (CL)

Jean-Luc Jossa (LU) 

Key Sawao (BR) 

Leho De Sosa (UY)

Lenna Bahule (MZ) 

Leo Cavalcanti (BR) 

Ligia Oliveira (BR) 

Luis Hölzl (DE) 

Luis Santiago (BR)

Lilly Bush (DE)

Lisa Kalkowski (DE)

Mahal Pita (BR) 

Malu Avelar (BR) 

Mano Bap (BR) 

Manuela Afonso (BR) 

Márcio Modesto (BR) 

Marcos Ramirez (UY)

Marcela Olate (CL)

Marina Massoli (BR) 

Martin Lanz Landazuri (MX) 

Micha Purucker (DE) 

Michelle Moura (BR) 

Miguel Antar (PY) 

Mônica Burity (BR) 

Pascale Obolo (FR)

Pat Black (BR) 

Paula Lopez (BR) 

Paulinho Silva (BR) 

Paulo Monarco (BR) 

Pedro Lima (BR)

Rebecca Carapiá (BR) 

Regina Oliveira (BR) 

Ricardo Iazzetta (BR) 

Ricardo Rodrigues (BR) 

Rita Gullo (BR) 

Rubens de Oliveira (BR) 

Samuel Hölzl (DE)

Simone Lopes (BR)

Thaïs Ushirobira (BR)

Theo Iazzetta (BR) 

Victor Pardinho (BR) 

Yuri Prado (BR) 

Lorena Vicini (BR)


INAE (Instituto Nacional das Artes Cênicas), GEN Espaço Artes e Sciencias, Casa Almargen, Colectivo LA Contracultural, Ministério da Cultura do Chile, Espacio de Arte Contemporáneo de Santiago, Fondo Iberescena, SESC Brasil, Instituto Goethe, HumaVida Produções, Cia Corpórea, A Casa do Povo, Friche Antre-Peaux Bourges, Nouveau Nouveau NTH8, Afrikadaa, Labo TPG, Bienal de Arte contemporânea de Lyon (FR), Servicio Cultural da cidade de Munich (DE), Servicio cultural da cidade de Lyon (FR), Tanztendenz, Instituto Francês, Associação Lusofonia, HIAP Helsinki International Artistic Program, Baltic Circle Festival, MIF Museu das Formas Impossíveis.