A.v.p. stands for Alba viridi pythonissan, the scientific name for the delirious dream of creating a new human becoming—more attentive, caring, and welcoming. In this vision, it is possible to change species through the use of devices, called prosthetics, that enhance our relationship with the environment. This mutation is facilitated by the ingestion of concentrated chlorophyll and the use of specific sound frequencies to induce a trance during repetitive movement practices.
This process allows a cyborg-like body to develop bionic movements, completing the envisioned integration of body and nature. Through the Cyborg Woman-Plant-Machine Experiment, the aim is to share research and documentation of saturating the body in trance using bio-industrial wearables developed with visual artist and designer Leo Ceolin.
The prosthetics are created using biomaterials and organic substances, following biodesign principles: structures should use minimal matter while enduring necessary impacts. These wearable devices transform limitations into movement expansion, enabling a choreographic evolution of saturation where the body enters trance through physical and musical stimulation.
The immersive sharing of this process establishes a space integrating performer, guests, and audience. This environment is designed with phenomenological principles, making the observer a key part of the experiment. It includes:
- The arrangement of wearable objects, mobility devices, or prosthetics produced.
- Sound interventions for exploration and trance experiments, using specific frequencies to sustain repetitive movements.
Alba viridi pythonissan unites three Latin terms: Alba (white, symbolizing light), Viridi (green, tied to the Plant Kingdom), and Pythonissan (witch, honoring healers and their deep connection to plant-based wisdom). Together, they illuminate new paths for coexistence, resistance, and reconnection with nature’s rhythms.
Carolina Sudati a.k.a. Translúcida Bruta
Brazilian dance and performance artist who investigates the relationship between the body and wearable devices, converting psycho-emotional limitations into expansions of movement. The successive creation of feminine dimensions appear in her projects Noiva (2011), Mosca-Branca (2016), Ave ou Penas (2017), SUCESSO estudo para o fracasso (2017), Experimento Cyborg Mulher-Planta-Máquina (2018), Perfeita e a Corrida do Ouro (2021), and Ex-Babilônias (2023). Explores ruptures and reconnections with rhythm and the natural environment at the intersection of territory.prosthesis.body.
Alongside associated artists, especially visual artist and designer Leo Ceolin, multi-instrumentalist Jose Bárrickelo, and photographer Mayra Azzi, she creates creates performance-installations, video performances, and wearable devices in various contexts and forums such as ACCC, Arte Serrinha, Mas Els Igols, Sesc, Contemporary Dance Festival, MinC, and ProAc. She maintains a constant artistic exchange with sound researcher and architect Cristian Espinosa and choreographer and dancer Manuela Aranguibel. She increasingly dedicates herself to the study of dark ecologies that emerged from vegetal hacking processes and material manifestations linked to mining, neo-extractivism, post-industrialism, and artistic investigation through specific parameters, including trance practices. She shares her research through workshops that arise from the subtle field of collectives and communities converted into raw wearable manufacturing, generating collective dances and performative actions. She is currently developing the initial stages of her new project titled Ex-Babilônias: Prologue of a Planting, funded by Finac, taking place between Piracaia and Bragança Paulista. This project aims to trigger dances for planting in areas of environmental degradation.
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