319:
34:
from
Guignard-UEMG School in Belo Horizonte, specializing in Photography and Ceramics. Her work departs from her experiences as a Black woman to examine and challenge discourses of racism in Brazil. She explores the legacy of
222:
344:
334:
349:
221:
Melo dos Santos, Danielle; Ramos de
Andrade, Juliana; Crispim, Yasmim; Silva dos Santos, Priscila; MaranhĂŁo dos Santos, Ednilza (2016).
197:
54:
Palladium in Belo
Horizonte (2017), and at the Performe-se Festival in Vitoria. In 2018, she was an artist in Residence at CMC/SESC at
339:
51:
254:
36:
62:
in Ghent, New York. Though she primarily works through performance, she has also produced "Bargain" (2017), a video work.
171:
172:"Washing the Dishes with her Afro-Textured Hair: Aesthetic Innovation in the Performance Bombril by Priscila Rezende"
278:
40:
45:
359:
223:"PROPOSTA DE TRILHA ECOLĂGICA NO PARQUE DOIS IRMĂOS COM ĂNFASE EM PLANTAS EXĂTICAS -APIPUCOS (PERNAMBUCO)"
55:
39:
and plantation economies, as well as anti-black racism in beauty standards. She has shown work at the
354:
238:
147:
233:
318:
23:
328:
50:(2013), Rabieh Gallery in SĂŁo Paulo (2014), SAVVY Contemporary in Berlin (2016),
230:
A Valorização do professor a partir das relaçÔes estabelecidas no chão da escola
31:
59:
27:
22:(born 1985) is a Brazilian performance artist who lives and works in
312:
126:
148:"Priscila Rezende (BR) « eRevista Performatus"
232:. Instituto Internacional Despertando VocaçÔes.
8:
239:10.31692/2358-9728.IIICOINTERPDVL.2016.00154
317:
198:"CSM/SESC Performance Artist in Residence"
237:
16:Brazilian performance artist (born 1985)
118:
196:Martins, Central Saint (2019-01-28).
7:
14:
102:Black Indices Exhibition (2017)
65:Her performance works include:
345:21st-century Brazilian artists
1:
335:Brazilian performance artists
37:Transatlantic African slavery
99:Come...to be unhappy (2017)
30:. She received a degree in
376:
350:People from Belo Horizonte
255:"VivĂȘncias performĂĄticas"
129:(in Brazilian Portuguese)
41:Museu de Arte da Pampulha
253:TEMPO, O. (2018-11-27).
105:November 29, 1781 (2018)
340:Brazilian women artists
84:Purification III (2014)
279:"Art Omi Artists 2018"
81:Purification II (2014)
202:Central Saint Martins
78:Purification I (2013)
56:Central Saint Martins
96:Genesis 3:16 (2017)
93:Re-education (2016)
90:Genesis 9:25 (2015)
127:"PRISCILA REZENDE"
87:Deformation (2015)
58:in London and at
367:
321:
316:
315:
313:Official website
298:
297:
295:
293:
283:
275:
269:
268:
266:
265:
250:
244:
243:
241:
227:
218:
212:
211:
209:
208:
193:
187:
186:
184:
183:
168:
162:
161:
159:
158:
144:
138:
137:
135:
134:
123:
49:
20:Priscila Rezende
375:
374:
370:
369:
368:
366:
365:
364:
325:
324:
311:
310:
307:
302:
301:
291:
289:
281:
277:
276:
272:
263:
261:
252:
251:
247:
225:
220:
219:
215:
206:
204:
195:
194:
190:
181:
179:
170:
169:
165:
156:
154:
152:performatus.net
146:
145:
141:
132:
130:
125:
124:
120:
115:
43:
17:
12:
11:
5:
373:
371:
363:
362:
357:
352:
347:
342:
337:
327:
326:
323:
322:
306:
305:External links
303:
300:
299:
270:
245:
213:
188:
163:
139:
117:
116:
114:
111:
110:
109:
106:
103:
100:
97:
94:
91:
88:
85:
82:
79:
76:
73:
70:
69:Bombril (2010)
24:Belo Horizonte
15:
13:
10:
9:
6:
4:
3:
2:
372:
361:
360:Living people
358:
356:
353:
351:
348:
346:
343:
341:
338:
336:
333:
332:
330:
320:
314:
309:
308:
304:
287:
280:
274:
271:
260:
256:
249:
246:
240:
235:
231:
224:
217:
214:
203:
199:
192:
189:
177:
173:
167:
164:
153:
149:
143:
140:
128:
122:
119:
112:
107:
104:
101:
98:
95:
92:
89:
86:
83:
80:
77:
74:
71:
68:
67:
66:
63:
61:
57:
53:
47:
42:
38:
33:
29:
25:
21:
290:. Retrieved
285:
273:
262:. Retrieved
258:
248:
229:
216:
205:. Retrieved
201:
191:
180:. Retrieved
178:. 2019-01-18
175:
166:
155:. Retrieved
151:
142:
131:. Retrieved
121:
64:
19:
18:
355:1985 births
108:ÂŁ20m (2018)
75:Ties (2013)
72:Body (2011)
44: [
32:Visual Arts
329:Categories
264:2019-03-16
207:2019-03-16
182:2019-03-16
157:2019-03-16
133:2019-03-18
113:References
292:March 16,
259:Magazine
286:Art Omi
60:Art Omi
288:. 2018
28:Brazil
282:(PDF)
226:(PDF)
48:]
294:2019
176:MOED
52:Sesc
234:doi
331::
284:.
257:.
228:.
200:.
174:.
150:.
46:pt
26:,
296:.
267:.
242:.
236::
210:.
185:.
160:.
136:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.