Works shaded by the act of makeup. First appear in the work ‘’Lábios’’, and reappear frequently not only with pasta makeup but also with gelatin, chalk and ceramic glaze. It is common to some work, to be make up during the performance. The make up, in addition to praise the surface, marks in part the installation and sculpture to witness a performance.

To recover the pawn, acquire again, redeem what has already been yours or been part of you, has disconnected and will be reconnected.Tunga occupied the three floors of the Centro Cultural Banco do Brasil in São Paulo, and important to his concept, he devised a performance for the exhibition opening.

The architecture of the building suggested an elegant prism that culminated in a skylight. And surrounding this prism on the second and third floors a masonry guardrail functioned as if the the viewing area was the balcony of an opera house.

Entering the space, the visitor found all the first floor surfaces hidden by dark gray blankets. Bathed in red light, the space was impregnated by Arnaldo Antunes’ rock mantra. A huge Triade whose canes extended for fourteen meters high forced the audience’s necks to bend to take in the gigantic white beings that floated under the skylight. These were inflatable objects in the same tripod, goblet, bottle, cauldron and funnel shapes. Soon, one of the twenty-one men who were passing by, each one wearing in a white dress shirt and carrying a trinket with the same shape of the floating figures attached to his belt, would offer a bowl of soup from a nearby iron cauldron where it was being warmed. In fact, the cauldron was part of the 21 Heraldos that were distributed around the Tríade. A group of half-naked ballet dancers were applying makeup to the large Tríade as if nothing else were going on around them. On the second floor, two rooms were occupied by the installation Lúcido Nigredo. In one room, under ultraviolet light Heaven’s Hell was being screened, in the other, bathed in infrared light Hell’s Heaven was being screened. On the third floor, 100 performers were weaving a large Teresa for their imminent escape.

The doors opened around 10am and closed after nightfall. The images mingled, women with polychromatic skins caressing the curves of gigantic bells, men ripping the blankets to make the ropes of the mythical braid, glass sheets, electrical wires, aluminum plates in profusion, soups and noises.