performance art collaborations 

 Female Blood

 Sarah Berkeley and Natalie Romero Marx

 Brooklyn, New York, 2016

 Format: Photography and Video Archive

The body is a repository of historical information and a primary medium for political action. In the personal and social context, the virtual versus the real, “Female Blood” was a radical performance that challenged the taboos around menstrual blood and the female condition in general. We question the ambivalent and misogynistic ways people see blood.  We refuse to remain discreet about our periods nor silent about our menstrual pain anymore. By anonymously and vulnerably putting ourselves in public wearing blood-soaked white clothes, we make visible the effects of conservative and hetero-patriarchal views that neglect the female body. Female Blood elucidates differences in how women and men relate to blood - for men the sight of blood is often the result of violence while for women  it's a monthly sign of a healthy body. Our gestures in Female Blood reflect on male-driven violence, and bloodshed; how is acceptable to symbolically drink. Curate by Sarah Berkeley as part of the performance series Public/Private

Ciervo Dorado (Golden Deer)

Carnaval de Barranquilla 2017.


This performance was my return to the Carnival of Barranquilla's parade: La Batalla de Flores (The Battle of Flowers) after almost ten years. I was inspired by two stories: first the golden ancient treasures of the Muiscas in Colombia, who sank sacred figures made of gold in the depths of lakes and caves to hide them from the colonials. The second reference is the golden calf figure that the jews made while waiting for Moses's to return from obtaining the then commandments from God. I covered all my body in golden paint and embodied a wild animal golden figure to evoque the deities of the disenfranchised in the feast before the lent. 

Performance Art Intersive Workshop and Live Art Laboratory by Guillermo Gomez Peña and la Pocha Nostra: "The body as a site for activism, memory and political action"

Santa Fe, New Mexico. 2016

Format: Photography and Video Archive by Katrina Mendoza and LPN.

The ‘Pocha workshop’ is internationally recognized as an amazing and rigorous artistic and anthropological experiment in which carefully selected artists from several countries and every imaginable artistic, ethnic, multi-cultural, and gender persuasion begin to negotiate common ground. Performance becomes the connective tissue and lingua franca for our temporary community of rebel artists. In this workshop.

Uroborus vs Corn Man 3.0: A ritual performance by La Pocha Nostra: (Guillermo Gómez-Peña, Saul Garcia-Lopez, Balitronica Gómez & Michele Ceballos Michot) in dialogue with Cannupa Hanska Luger. Additional performances by White Eagle, The Pepper Pepper, Heather Gray and Natalie Romero.

Center for Contemporary Arts.

Santa Fe, New Mexico 2016.

Photography by Robin Lavern Wilson. 

"The public takes a journey into the mind of Cannupa Hanska Luger, exploring the layers of his multidisciplinary work. To kick off this amazing exhibition, La Pocha Nostra, “the most influential performance troupe of the past 15 years” presents a special performance for the first time in Santa Fe following a weeklong performance residency in the city! 

The recent works of La Pocha Nostra comprise “a post-apocalyptic and post-human series of live art actions in search for more complex notions of identity and social belonging.” These humorous and daring shamanic actions call for the reinvention of identity and draft a new collective territory for "artivism"."


Oroborus VS Cornman 3.0

Oroborus VS Cornman 3.0: A Ritual Performance by La Pocha Nostra at Center for the Contemporary Arts, Muñoz Waxman Gallery. Santa Fe, New Mexico. July 2, 2016.