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Márcia X. (1959–2005) was executed in the 1980s. The performance Lavou a alma
born and lived in the city of videos Pancake (2001), Ação com Coca-Cola, through its
Rio de Janeiro, where she de Graças [Thanksgiving] ghastly composition.
developed works supported (2002), Alviceleste [White In Ação de Graças and
by varied expressions, such and Sky Blue] (2003) and Alviceleste, Márcia X. creates
as performance, object, Lavou a alma com Coca-Cola impressive settings, propos-
video, installation and draw- [Soul Washed with Coca- ing three distinct moments
ing. Her artistic journey Cola] (2003) document the to accommodate her perfor-
was characterized mainly artist’s final phase — when mances. In both cases, there
by eroticism and humor, she again took up the lan- is initially a space corre-
through the juxtaposition of guage of performance as her sponding to the installation
erotic objects, children’s toys main artistic expression. that precedes the action, fol-
and religious artifacts. Pancake reveals a fascinat- lowed by a second moment
Imagem [Image] (1997) ing but disgusting “makeup,” in which the performance
and Reino distante [Distant illustrating both the coveted takes place, and finally, the
Kingdom] (1998) exemplify a dessert from a children’s installation resulting from
phase of the artist dedicated party and the excess of each performance.
to the production of more makeup that disfigures the
tangible works, throughout human form. The same
the 1990s, as opposed to attractive and repugnant
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