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Altamira 2042 is a performative installation created from the testimony of the Xingu River on the Belo Monte dam. Here everyone speaks through the same techno-shamanic device: speakers and pen drives. Each speaker carries a voice, human and non-human, heard on the banks of the Xingu River. A polyphony of beings, languages, sounds and perspectives take the space to open the public listening to voices that so many try to silence.

Between 2016 and 2019 we heard the testimony of the Xingu River about the catastrophe caused by the Belo Monte hydroelectric plant. This listening gave rise to the show Altamira 2042. The performance premiered in 2019 at the São Paulo International Theater Festival - MITsp, and has been performing in several cities in Brazil and the world, including the city of Altamira, in Pará, Rio de Janeiro , Paris, Vienna, Hamburg, Porto, Lisbon, New York among others.

It is from these sounds, songs and also images that the performer Gabriela Carneiro da Cunha articulates, together with the audience, the different moments of the work: the opening Rio y Rua, followed by Dona Herondina, Seu Quebra Barragem and Aliendígena, where the performer dresses and presents the different perspectives of these three machinic-spiritual beings who protect the waters and forests and who take the floor to mythologize History.
Thus, the Belo Monte Dam ceases to be simply a work and becomes the myth of the enemy.

The Tapajós river is home of the important and resilient indigenous Munduruku people. The Munduruku people still do not have their land demarcated and officially recognized by the Brazilian State. In recent decades, the Munduruku and some of their female leaders, such as Alessandra Korap and Maria Leusa Munduruku, have revealed themselves to be the main voices of resistance to illegal mining and the contamination of the river, their bodies and their children by mercury. One of the images that will guide us is the encounter of waters that happens between the Tapajós River and the Amazonas river, in the margins of Santarém city in the State of Pará, where both rivers follow together hundreds of kilometers side by side without mixing their waters. Two are one, and one is two. This spot is known for its magical powers. For us, it is the image of a real encounter, a counterpoint of the colonial encounter that devastated and exterminated numerous humans, and non-humans, populations. An image yet to be revealed.

The cultural expression of this image in the Tapajós is called Sairé Festival, one of the most important and ancient celebrations in the amazonian region. A religious pagan ceremony where both catholic and indigenous cultures encounter and make, in their words, “a link between the real and the spiritual world”.
The research carried out by the artist Gabriela Carneiro da Cunha will continue in this third stage by amplifying and deepening an artistic language interested in listening and materializing the testimonies of amazonian rivers, and also in deepening the relation between ritual and performance, and the
public engagement.

About Rivers, Buiúnas and Fireflies is an artistic research project dedicated, since 2013, to listening to and amplifying the testimony of Brazilian rivers that experience catastrophe, from the perspective of the river itself. This research was conceived as a response to the concept of the "Anthropocene", explained by Eliane Brum as "the moment when man stops fearing catastrophe and becomes catastrophe itself".
Within these processes, three fronts emerge, three voices to be heard: the Witness Rivers, the Buiúna Women and the Firefly Peoples.
The Witness Rivers are those who live through an experience that could be called catastrophic, from the point of view of the rivers and the many beings that depend on them, human and non-human; the Buiúna women are us and them. Women artists of the margins and women from the margins, women leaders who carry in their political-poetic imaginary the mixture of different spaces-times, and the potential that arises when they come together; the firefly peoples are all those exposed to disappearance, human and non-human (Didi-Hubermann, 2011).
So far, we have listened to three Amazonian rivers: Araguaia, Xingu and Tapajós, each river requiring a different kind of listening. This listening has generated performances, plays, films, articles in magazines and books, workshops, a network between women, rivers and art, the acquisition of land in Altamira/PA - which will be used to fertilize seedlings and ideas - and now this Tarot Game where we reveal the world in which we are immersed with each card.