Luiza Furtado (1999) was born in Florianopolis, Brasil. Four years ago she moved to Austria for her studies at the Academy of Fine Arts Vienna. 

Luiza ́s project is an ongoing performance series which deals with ecology by reflecting on the following question: where does the human body beggin, and where does it end? A frame of flesh and bones liquifies as the research evolves, and points to the embeddeness of allagents in the Biosphere.
 

“Hybrid Viscera”(2024/2023) aims to discuss materiality and waste in the Anthropocene. Which according to Bruno Latour, can be located as the historical moment where humans have become a force of geological transformation leading to severe global emergence.Interwoven relations of upcycling and dance as community building practices take a central role in
the narrative as dancers interact with fabric membranes.

The construction of her recent work beggan with an year long process of arquiving urban materials,to reflect on the environmental impact of their transformation processes. From documentation,
collection, cleanse, costume design and choreography to the final result as a performance. Luiza ́s background as an industrial design student (B.A 2016-2021 PUC-Rio) has influenced the way she
addresses materiality in her works. Every surface that comes into her creations triggers questioning. Such as, how was this element built? where? by which tools? under which circumstances? how will this be consumed, discarded? or re-absorbed by earth? The analysis of each element takes form as a line of this critical web.

Throughout her pieces, dancers thread a fictional space in which soft sculptures made with found materials such as ruber, metal and second-hand fabrics, become prosthetic of their limbs. Massumi
writes that “Man, was and always is a prosthesis, body and thing are extensions of each other” (2002: 95). Within this context, a group moves together to create scenes which portray an
embodienment of collectivity, by visually bluring the boundaries between biotic and abiotic elements - to highlight dynamics of kinship between these realms.

In her book “Staying with the Trouble: Making kin in the Cthulhucene.//Donna Haraway// points out that (...) we require each other in unexpected collaborations and combinations, in hot compost piles. We become-with each other or not at all.”

Embodying components present in the city as material for choreography. Lead towards a ”(..) posthuman aesthetic (..) which (...) decenters the human by hybridization: blending human-animal
and human-machine (...).” text by //Anneke Smelik//. The work stages allegorical scenes of machine movements involved in the industrial making of such upcycled elements. While presenting
a sequence of metaphorical acts, that assimilate the inner structures that hold a body together: the bones, cartilage and guts. With the outer ones, those framing it on the public space: such as rails, fassades and foundations.

Inspired by the studies of Biomimetics, a design field which emulates “models, systems, and elements of nature for the purpose of solving complex human problems”. Luiza pursues to work
with dance to create //placentar narratives// a methaphoric image, for an involocrum which frames organisms throughout a process of growth and transformation while powered by channels for
nurturing and exchange. Her goal is to tackle the entanglements of fictional speculation and hybridism to reflect on possible ecological alternatives for contemporaneity.