cartas a ele.

The action invites passers-by to offer a word in response to a reflection proposed by the performers. The group then collectively composes each word using placards and occupies the pedestrian crossing during the traffic light interval, inserting these responses into the everyday flow of the city. 

The action brings the audience close to the Monumento aos Heróis da Travessia do Atlântico, built to commemorate the transatlantic flights made in 1927 and also marked by references to fascist Italy. The monument is displaced from its habitual condition as a commemorative landmark through a physical, attentive approach to what its materiality, its symbols and its history still cause to reverberate in the present. 

The action organises two groups dressed formally in black who cross the pedestrian crossing in front of the Monumento a Borba Gato in a synchronised manner. During gaps in the traffic, they hand drivers an advertising leaflet announcing a new property development built on top of the monument itself. The intervention appropriates the language of advertising and property speculation to displace the presence of Borba Gato in the urban landscape and put into circulation other ways of attributing value to, occupying and imagining that space. 

The action gathers the performers around the Monumento a Pedro Álvares Cabral, dressed in bathrobes and equipped with containers and water sprayers. The monument and the inscriptions on its base are continuously drenched with water, turning the gesture into an intervention on the celebratory narrative inscribed in that space and on the colonial memory it preserves. 

The action transposes into the flow of the city the gesture that gives the Monumento às Bandeiras one of its popular nicknames. In front of the sculpture, a car is collectively pushed by the performers, who carry a banner with the phrase "Deixa que eu empurro" ("Let me push"). The intervention brings the monumental image of effort and displacement close to an everyday situation, creating an overlap between the monument, the bodies and the traffic around it.

The action leads the audience on a sound walk through Largo do Arouche, starting in front of the Mercado das Flores and ending at the Monumento ao Imperador Otávio Augusto. Through an audio guide, the statue itself takes on the voice of the narration, blending the experiences of Arouche regulars, memories of the place and real or fictional events. At the end of the route, the audience is taken by surprise by the unveiling of a public chamber pot installed at the base of the monument and invited to join the performers in a collective celebration in the form of a party and carnival.

The action takes as its starting point the episode in which Anhanguera is said to have threatened the Goyá indigenous people with setting their rivers on fire. Building on this narrative, the performers invite passers-by to answer the question "What flags need to be raised in Brazil today?". The answers are written on fabric attached to the performers' bodies, later transformed into banners and carried along Avenida Paulista. 

The action follows a Black man dressed in a suit who walks around the Monumento Glória Imortal aos Fundadores de São Paulo, keeping his gaze fixed on the top of the work. Red drops, like blood, drip from his briefcase, leaving a trail on the ground and forming a circle around the monument.