Bibi Dória (Campo Grande, 1995) is an interdisciplinary artist with a degree in Dance from UNICAMP (Brazil) and an associate of the Rose Choreographic School (UK) 2024–26. She works at the intersection of dance, performance and cinema. Based in Lisbon (Portugal) since 2018, she develops her own artistic projects, including nome de filme (2021) and cão de sete patas (2024), and collaborates as a performer, assistant director and dramaturg with various artists. Among them is Bruno Brandolino (Uruguay), with whom she shares performance and creation of the work LA BURLA (2022). Her practice engages with themes related to memory, archives, fiction and imagination.

About the residency

The research to be developed is part of the creation of the performance Carnival in the Mud, the final solo within the Marginal Trilogy — a sequence of works exploring the interdisciplinarity between cinema, choreography and performance. It draws on the Brazilian Marginal Cinema movement of the 1970s, and in particular on the emblematic figure of actress and lead performer Helena Ignez.

Connor Scott (Newcastle, 1998) is a dancer, performer and choreographer based in Lisbon, Portugal. Rooted in ballroom social dances, his practice gravitates towards the deviant qualities that dance can invoke, exploring how habitual tendencies, physicalities and normativities might be transformed into alternative modes of expression and empathy. Often working in relation to the genealogy, archive and folklore of dance, his work focuses on forms of presence that emerge through processes of choreography and collaboration. As a dancer, he has performed works by Xavier Le Roy, Theo Clinkard, Michael Keegan-Dolan, Thick & Tight, João Dos Santos Martins, Bullyache, Marcelo Evelin, Sofia Dias & Vítor Roriz among others. Together with Ana Rita Teodoro, he co-hosts the experimental cabaret Primeira Vez at Espaço Parasita.

About the residency

Waltzer (working title) is a work that looks at the force and concept of the spiral and its deviant relationship to time and physicality. Elaborating upon steps and social dance movements that innately foster these helical qualities, the work slides between various kinds of inhabitation and transformation that play on the slipperiness between the inherent and the imposed.

Inês Campos is an artist whose work spans dance, film, music and visual arts, exploring the relationship between the body and its symbolic place, and crossing the real and the unreal through a magical realist imaginary. With her latest creation fio ^, she received the SPA award for Best Dancer. Alongside her artistic creations and collaborations, she is a co-founder of the bands Sopa de Pedra and Tigre, and is currently focused on developing her work as an actress in the field of cinema.

Grilo is a sound artist, performer, composer and poet, interested in utopia and hope as tools of resistance. He creates soundtracks for dance, theatre and film, has released more than a dozen albums, and performs live as an improviser, performer and singer-songwriter. He recently premiered ivu’kar, a multidisciplinary performance about invisibility and care, and published a book of the same name with Sr.teste publishing house.

About the residency

Fazer Ideia No. 3 is the sequel to a series of performances initiated by Inês Campos and João Grilo for non-conventional spaces. Exploring the relationship between the body and symbolic space through a poetic and pragmatic lens, the work brings forward questions around desire and collective purpose. In a continuous gesture where body, sound, text and action intertwine, they construct a practice of transformation, multiplicity and shared imagination that proposes a participatory experience.

Luísa Saraiva is a choreographer born in Porto, currently based between Porto and Berlin. Her choreographic work explores the language of the body and voice, situated at the intersection between movement and musical composition. She has developed extensive research into Portuguese oral heritage, approached through a critical perspective on the relationships between tradition, gender and power. In recent years, she has led workshops and participated in discussions on mental health in dance. She is co-director of the MULA festival with Cristina Planas Leitão.

About the residency

This new research seeks to consider processes of sound production as models for dynamic relationships between body, circulation, reverberation and transmission. Taking the Leslie speaker and the Hammond organ as choreographic metaphors, this residency initiates an itinerant investigation into the relationships between different musical practices and associated forms of physicality.

Marga Alfeirão (Lisbon, 1994) uses media to create safe spaces for the exploration of intimacy and sexuality through dance and performance. Strongly influenced by dance genres and sonic textures from the African diaspora that permeate Lisbon’s social fabric, Alfeirão seeks to reclaim the nuances of the feminine in collective, creating space for a public female intimacy grounded in female sensuality and ways of looking. Lounge (2023) was awarded the 8 Young Choreographers’ Prize. In the same year, she premiered No Biggie Deal, a solo work about Brooklyn rapper Notorious B.I.G., drawing on tabloid culture and nostalgia to pose the question: could Biggie have been bisexual? Her first group work, no c o r a ç ã o dela, premiered in December 2024 at Sophiensaele in Berlin, created in collaboration with a team of eight artists.

About the residency

At a crossroads, before continuing with her 2027 projects, Marga revisits materials and collaborators who have influenced her work from the beginning. She returns to the texts, images, videos and sounds created for no c o r a ç ã o dela, a group piece premiered at Sophiensaele in 2024. One of the central themes of the piece was composed by Nidia, a producer and DJ from Vale da Amoreira and a pioneer of Lisbon’s batida scene. Through this encounter, Marga reorganises the choreographic material, revisiting it through the elements created by the team and opening up new possibilities for its development.

Miguel Bonneville is a transdisciplinary artist whose practice spans performance, writing, film and visual arts. Since the beginning of his career, he has worked through long-term cycles and projects in which conceptual research and formal experimentation are interwoven with a deep biographical engagement. In 2025, he was awarded the VS Literary Prize – Ernesto Sampaio.

Sofia Dinger has been working for several years as a performer while creating her own artistic projects along the way. She completed the Das Arts Master’s programme in Amsterdam as a scholarship holder of the Calouste Gulbenkian Foundation. She writes every day. She is deeply interested in ghosts. But there are so many, so many people (which is why no names are mentioned; all have been important). She travels through the world.

About the residency

In 2022, Sofia Dinger and Miguel Bonneville began an artistic collaboration with O Primeiro Sol, a work that drew on Anton Chekhov’s The Seagull and the figures of Nina and Treplev to explore desire, failure and the need to keep creating. From this encounter came a book that existed for only one night, but also a project conceived to unfold over time: four acts, presented four years apart, in which the two artists return to the same questions through the transformations they have experienced in the meantime.

Reparar na Queda is the second act of this cycle. Its title comes from a poem by Daniel Faria: “what hurts the birds / is not being hit, / but that, once hit, / the hunter does not notice their fall” – and evokes the double meaning of reparar: to pay attention and to try to repair.

Four years on, Nina and Treplev are no longer the same – nor are Dinger and Bonneville. Returning to these two figures opens up a space of inquiry into what remains as time passes, and into how we look again at what we already know.

(For the second act, Chekhov prepared the following stage directions:
Nina offering flowers and Treplev with his hat in his hand.)

Natacha Campos, born in the late 1990s to Angolan parents, works across the languages of dance, theatre and performance. Her research focuses on the tensions between the visible and the invisible, the intimate and the public, seeking common ground within what appears to be antagonistic.

About the residency

Here, she proposes to delve deeper into the concept of the border: is it a line or a territory? A place where two or more realities coexist, or a non-place that belongs to no one? Through this research, she seeks to inhabit this threshold between the comic and the tragic, the intimate and the public.

Pedro Barreiro is an artist whose extensive practice spans work as a director, actor, stage-maker, dramaturg, producer, programmer and curator. In recent years, he has been particularly interested in thinking about performative acts as generators of poetic meaning, in experimenting with the conventions that constitute theatrical forms, and in strategies for dismantling hegemonic systems within contemporary art. Since 2020, he has been continuously creating and presenting the performance an artist is always working. He was artistic director of Teatro Sá da Bandeira in Santarém (2015–2017) and collaborated with Teatro Praga as programmer of Rua das Gaivotas 6 in Lisbon (2019–2022). He has been an associated artist of Cão Solteiro since 2020. He is also a founding member of the collectives Sr. João (2010) and Activo Tóxico (2017). He is artistic director of O Espaço do Tempo and of the Portuguese Platform for Performing Arts, and a member of the Board of Directors of the European Dance Development Network (EDN).

About the residency

In this residency, Pedro Barreiro will be working on Escultura, one of the first pieces in the series The Art Working Series. The Art Working Series is a set of performative, contextual and site-specific works governed by the operative concepts of framing and naming, exploring various aesthetic variations in the relationship between art and labour, while also operating economically and politically at the intersection of these two fields.

Escultura is a piece that takes place in marble, limestone or granite quarries, where the cutting and extraction of a large stone block can be observed. The cutting and extraction of this block becomes the performance witnessed by audiences on site, enacted by quarry workers as part of their everyday labour.

Reina da Mar, born in Serra d’Aire, is the alter ego of a curator working across cultural programming and production, artistic and sound creation. She explores the possibilities of listening as a feminist practice for the composition of archives, mutual support and affect. She is a member of the Pedreira collective in Porto and part of the curatorial team of Tremor Festival in the Azores.

About the residency

Serra Juntas is a metal tool that, after so much use, sometimes looks broken, but still works: two steel rods pressed against each other, taking so many blows from a hammer that they bend out of shape. Growing up in the Serra is like a Serra Juntas: you take the blows, you look broken, you end up bent, but somehow you keep working.

Vamos Juntes – Serras Juntas could be an instruction manual gone wrong, inspired by the well-known pocket almanacs Borda D’Água.

Through encounters, myths, folk remedies, invented (or forgotten) words, noises and disorientation, the residency dives beneath the surface of attention, into the fog of overstimulation, to question and map the meanings and memories of the Serra.