CONSUBSTANTIATION is a strange drag show. Moving from a binary gender and sexual identity perspective, the performance develops from the creation of an imaginary “a space between”, both sexual and gender, and its embodiment: a human body that approaches a gender-object.

Embracing the being-object as a mandala to a blurred gender, a figure enters a simultaneous and paradoxical process of self-objectification and somatic disappearance (the cancellation of its subjectivity). Dinis Machado seeks an imaginary of a parallel genre, foreign to the sedimented aesthetics of queer representation in a mainstream pop imaginary. An exercise in displacement where: glittering costumes give way to processes of hacking the body with geometric objects of concrete materials; stylized choreographies give way to territories of unnamed movement; pop songs give way to plural and blurred identity narratives, sung like a dodecaphonic opera, which produce more an incomplete fiction than a narrative legitimization of the self. This figure invests in conditioning and deformation of his nameless body, finding in materiality, geometry, and plasticity a process of questioning the body and its own anthropomorphic representation and thus claiming a body of a queer materiality: one that refuses to consubstantiate a linear, masculine and anthropomorphic heterosexuality, and paradoxically refuses to abandon them as well.