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In the Bombril performance, experienced for the first time in 2010, Priscila Rezende rubs, using her hair, a surface for metallic domestic utensils used in the kitchen. Having its title taken from the well-known steel sponge of same name, Bombril is often used as a pejorative adjective to refer to the hair of black women. In the version presented at Bienal 12 | Porto Alegre, Rezende performs at Praça da Alfândega, a public space located in front of the Memorial building. The relevance of Bombril lies on the fact that it echoes one amongst several daily experiences of violence, lived by the black population in Brazil. The performance also supports racial relations themes, a social and political content that is still avoided or even prohibited in the Brazilian society, inside the reflection space in which it is usually addressed. At the same time, the action provokes a rupture: it moves the discourse object from a passive position to the one of protagonist (and enunciator), aware of its own narrative.

Priscila Rezende

Priscila Rezende