nadahada

In this multispecies drag performance, we emerge as no recognizable form, but an abomination of sheets, table cloths, underwear, the net bags that hold fruit, and other fabric scraps that make up the creature that covers us both. As a mix of vaudeville-esque music and academic lectures plays, we remove this layer to interact with the creature–becoming now two separate, masked entities, and we continue to change and transform throughout the performance. Finally, after much dancing and shifting, an octopus is born.

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"...During the action, the white creature sinuously displaces the center of the scene [...] When they finally abandon the fabric on the floor, they improvise a choreography to the rhythm of a vaudeville-esque music's tempo, which returns each time more disturbing. [...]

"The low cut white leotard, thong like dental floss, torn fishnet stockings, and furry bodice (to give a few examples) make explicit a fantastic eroticism that challenges and reconfigures the space where they decided to inscribe the work, and a certain aesthetic associated with the activist commitment that they emphasize in their comunicado. In the performance they go beyond, laying out a sensual experience as strategically opaque and humoristic, that pushes back against internalized and projected stereotypes [...] 

"The corporeal challenges, such as juggling with boob balls and catching them with a vaginal fabric creature, interrupts the striptease situation with a radical sweetness that expresses the singularity of nadahada. But just to the extent that they don’t come undone, the two remain in the risk of constant challenge, transforming each simple posture into the most inadequate and incorrect–to the point in which one ends up asking oneself, when was it that they fell into the intimacy of the den that these strange creatures inhabit."

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-Daniela Camezzana, "Cuerpxs indescifrables," El Río. notas breves sobre arte y cultura. (translated by the artists)