Performing Arts


— program by Dinis Machado

ZDB 8 Marvila — Praça David Leandro da Silva 2, 1950-131 Lisboa

ASPHALT series CNIDARIEL ©Evelina Eliasson
Yet Familiar
Lamia Karic
Luan Okun
Progressive genitalia
Mia Meneses ©Tânia Araújo

CNIDARIEL – CNIDARIEL (Music/Performance)
Luan Okun – C0rp0Lento (Performance)
Mia Meneses – Bloco 11 (Performance)

Progressive Genitalia – Progressive Genitalia (Performance/Drag)
Shirley Harthey Ubilla – Yet Familiar (Dance)
Gareth Cutter and Gemma Nash – The Quips (Music/Video/Radio/Activism)

Progressive Genitalia – Reimagining Intimacy (Performance)
Slim Soledad (DJ set)

Shifting away from binary understandings and formulations, the ASPHALT Series articulates a program of artists who inhabit intimate spaces between identities, but also between theatricalities, genres, techniques, narratives and devices. A group of artists with entangled identities and practices where agglomerations of fragments of materialities, fictions, densities and desires weave dissident politics, sensations and fictions fused into incognito performativities.

ASPHALT is a context that articulates gender as variable understandings and formulations crossed by migratory flows, class experiences, cultural backgrounds, racializing gazes and experiences and projections of disability. Bringing together a group of artists who articulate themselves and their queer practices in diverse ways that reflect their life paths and production contexts, the programme seeks to de-objectify the queer body by fragmenting it into a multiplicity of possibilities and propositions.


CNIDARIEL exists in a distorted sound and visual world that explores excess, alienation, vulnerability and the body. CNIDARIEL is a Stockholm-based musical/visual performance project that combines Swedish lyricism with dark soundscapes and influences from pop, folk, club culture and ritualistic/orchestral dramaturgy.

In September 2022, their second EP Fantasy Bonding was released, following their debut album Köttets Väg in 2020. CNIDARIEL is what is played inside your head in the moonlight during your best fever night. This performance was previously presented at the Norberg Festival in Sweden in the summer of 2023.


Performance by Luan Okun and Hêlo Santiago
Research: Luan Okun
Playwright’s reference: Mateus Aleluia

Corpolento adj.
1. excessively fat, obese or adipose.
2. Possessing large dimensions, bulky.

Slow adj.
1. showing a lack of speed or agility, sluggish, dragging.
2. Not in a hurry
3. Prolonging time
Conjure yourself not only with the definition, but with the various possibilities we can create to narrate our own trajectory.
Slowing down, decelerating, resting bodies that are always rushing to meet colonial demands becomes a deadly weapon against the colonization that still tries to imprison our subjectivities.
In this process, we will work with slow movement in order to instigate the viewer’s meticulous gaze.
Using the element of earth as a metaphor for understanding the need to be silent in order to listen to the movements, dances, roots and lives that run beneath the earth.

Bloco 11

Dramaturgy – Mia Meneses
Direction – Mia Meneses and Susana M. G. Silvério
Performance – Mia Meneses and Mariana Freire
Sound design – Afonso Albuquerque

The body does not reflect the person who inhabits it.
Stripped of the layers that make us people, all we have left is dance. Dance frees us from our condition. Movement is freedom.
This work is about the body. About what it is to be a marginalized body. A manifesto that refuses the hierarchization of disability and the vision of the dancing body.
Freedom is an urgency. Trying to free the body through dance. To use the frustration of trapped movement to make it fluid.
The fragility of a body can at the same time be the most powerful and strongest thing about it. The condemnation of the body is always made by the gaze of the others. The lust for freedom is greater than the fear of death.

Progressive Genitalia

Progressive Genitalia is a science fiction, infomercial-type show in which Prof. Rory presents a 3-step method for designing and growing the genitals we dream of through biotechnology.

Yet Familiar

”If I want to mix a glass of sugar and water, I must, willy-nilly, wait until the sugar melts.”
(Bergson 1911: 10)

Listening to Drake rapping that he’s a dyke too. Or remembering that very special lick in that very special place. Or the sweet smell of sopaipillas pasadas. Pleasure is a feeling of satisfaction and enjoyment derived from what is to one’s liking.

In Yet Familia(r), a playful and fragile distortion takes place in the borderland between subject/object (abject). Based on fiction and play, an imaginary world where playfulness and fun-filled choices are at the center of attention and the question:
How can I be the body I imagine being in the world of my dreams?

Yet Familia(r) is a piece of pieces that consists of fragments of (un)real memories-thoughts-experiences – A spacey Latinx futuristic landscape enabling a past-present-future body to awake.

Fragmentary and fleeting
Fun and freaky
They are strange, yet familia(r)

Choreography: Shirley Harthey Ubilla
Idea and concept: Shirley Harthey Ubilla & Hanna Kisch
Costume design: Hanna Kisch & Nina Johansson
Set design: Hanna Kisch & Juli Apponen
Music and sound design: Maya Lourenço
Light design: Angela X
Producer: Sara Bergsmark
Artistic process in dialogue with: Rolf “Butcherqueen” Backman & Cajsa Godée
Co-produced by: MDT & Dansens hus (Sthlm)
Support: The Swedish Arts Grants Committee, Swedish Arts Council & Stockholm stad.
This presentation is made possible thanks to Life Long Burning, Towards a sustainable Eco-System for Contemporary Dance in Europe project (2018-2022) supported by the Creative Europe programme of the European Union.

Reimagining intimacy

Reimagining intimacy
A performance by Progressive Genitalia
With Mille Bostedt & Elysia Goodridge-Dyson
Created in collaboration with Lesbisk Makt.

A performance by Progressive Genitalia that imagines the future of intimacy. Two modified bodies interacting in ways that challenge our conception of sex. Through the 4 phases of intimacy, these two transhumans come together to question how bodies interact with bodies and how they give each other pleasure, both through physical and emotional closeness. In this futuristic performance, Mille Bostedt & Elysia Goodridge-Dyson interact with silicone exoskeletons and use movement to explore a brave new form of connection.

The Quips

The Quips
A project by Gemma Nash and Gareth Cutter

The Quips is a research and performance project about radio’s relationship with disability and pirate radio’s history of rebellion and activism, culminating in a live radio broadcast and video documentation by CUTTER // NASH.

When Covid-19 arrived, our interactions – with culture and with each other – were remote and online. Now, as society begins to “reopen”, disabled and medically vulnerable people are at risk of being excluded again.

In this landscape of dwindling support and connection, The Quips claims creative space for the voices of people with disabilities – their humor, rebellion, sexuality – and amplifies them. We take inspiration from radio stations such as the 1947 French radio show “La Tribune de l’Invalide”, where disability activists spoke out about the neglect of disabled people, and “Gaywaves”, the first British radio show run by and for gay men in the 1980s, the era of Section 28.

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