Beatriz Nascimento Hall
The small exhibition hall, the Beatriz Nascimento Hall, is located in the lower foyer. It can be reached by taking the stairs or the lift down from the entrance hall.
Manauara Clandestina
The desire to escape is born from the imagination, which allows us to envision other possible realities. After leaving Manaus and moving to São Paulo, Manauara Clandestina came to understand the transformative potential of migration as a gateway to a new world. The condition of being in constant movement, whether across territories or through bodily transformation, deeply informs her practice. For the artist, migration is also a technology that enables the survival of trans people, functioning as a strategy for existence.
Manauara also works with upcycling, repurposing garments into new forms. This continual transformation of materials can be understood as a metaphor for the transformation of the body and of humanity itself: how can we make better use of our resources before they are exhausted? What do we consider disposable?
In the exhibition Manauara presents Transclandestina 3020, a video lasting approximately twenty minutes. The work is displayed on a television set positioned in front of a silver wall. The film takes place in a futuristic industrial city where travestis work in an office imagined as a government ministry while preparing for a fashion parade that culminated in the opening of the 36th Bienal de São Paulo.
Between escape, refuge, and reinvention, Transclandestina 3020 imagines a possible future in which clandestinity becomes a a space of transition and the fashion show becomes an affirmation of existence.
The textile assemblages presented alongside the video are composed of garments and fabric scraps in vibrant colours. Suspended from the ceiling by orange construction-scaffolding ropes, they hang from wooden hangers without touching the floor, while the ropes continue downward in loose tangles.
Manauara’s installation appears as a post-fashion show suspended in time and space: garments and images remain as present, dissident bodies, functioning as living extensions that preserve and continually reactivate memories of crossings, alliances, and processes of transition. Situated between performance, fashion, and installation, the work projects futures forged from precarity transformed into political and aesthetic power.