Is there love in Berlin? Partcipatory Lecture Performance

After collecting stories in the neighborhood of Neukölln, Rhodi invites the audience to a multimedia participatory lecture-performance about stories of love in Berlin.

The artist met some residents of Neukölln in order to talk about their stories of love. At the same period, Rhodi researched about historical stories that happened in the same neighborhood.  With the material, constituted by personal audios, pictures and videos, the artist made a collage of the collected stories in order to develop the multimedia and participatory lecture performance. The work has a structure of a lecture. It takes one hour and half with a pause of 20 minutes.

During the pause the audience can also take part sharing their own stories, answering by written the questions of a questionnaire Camila wrote, based on the collected themes during the research process.

  1. Did you ever have a story of love in Berlin? If yes, did you suffer from the racism of your partner? Or had you ever been racist with your partner?
  2. Do you have friends in Berlin that you love?
  3. Is there love in Berlin?

Everything divided by themes and connected with excerpts of the American feminist author and social activist bell hooks’ book. The lecture-performance is compromised with personal and universal stories of love, touching on the compulsive drive to consume love as an expression of primal needs such as the need for care, nourishment, safety, belonging, emotional intimacy and validation.

The project touches on subjects such as oficial and unofficial history, gentrification, personal urban narratives, and cultural translation.

Few moments of the lecture performance:

Berlin, 2017

“A wonderful event, wholeheartedly thought and beautifully presented. You can feel the words coming out of Camila’s heart, and right into your own. Sehr zu empfehlen!!”  M. Haten Hamdy

2017 for B-Tour Festival, Berlin, Germany

The Ethical Slut

Multimedia Performance, a pocket karaoke concert. 

The performance is based on stories of physical and psychological violence towards women from all over the world. The artist takes the audience on a journey starting from the slum music from Brazil passing by some feminist, and queer pop songs.

The public display of intimate life details, fighting for the female sexuality deconstructing patriarchal structures of power and oppression, using the aesthetics of the ‘personal is political’ to the artistic practice as a method for empowerment.

–> this video is an edited documentation with also some comments in order to understand better how the Ethical Slut multimedia performance works:

(The whole performance takes around 30 minutes)

*Thanks to Beatriz Provasi, Flávia Naves, Mirabella Dziruni, Miss G (Giorgia Conceição), Samantha Rennó, Rodrigo Garcia Alves and Felix Speiser.


2017: Chouftouhonna Feminist Festival. Tunis, Tunisia.

2016: Mash-up! – Multigender /Multiworld. Ballhaus Naunynstrasse.  Berlin, Germany 

Collaborative Works

2020: The Book of S of I : Creatures born from Hopelessness

Another world, post-apocalypse. Feverish nightmares turning into utopian dreams. Bodies aligned in pleasure, summoning the ghosts of the past and the future. Give yourself into the world of The Book of S of I – a queer feminist sci-fi Saga about the desire to belong, about the power of mutual care, of bodily pleasures, and the yearning for tenderness.

The Book of S of I. Chapter One: Creatures born from Hopelessness is the first part of the trilogy.

The premiere of the film on June 13th. 2020 on the homepage of the Haus der Kulturen der Welt as part of the New Alphabet School # 4 Caring symposium

The film was created with the support of the M.1 Arthur Boskamp Foundation and the sponsorship award.

A Film by Malu Blume

2019: Beyound Vision

What happens when our vision cedes and we cannot experience our surrounding the way we did before? Are the remaining senses sharpened? Does reality blur?
Beyond Vision is a binaural one-to-one performance on Tempelhofer Feld. Blindfolded and wearing headphones, let yourself be guided by the hands of an invisible companion. Together you embark on a journey into the unknown. You will find yourself in dreamlike situations and discover the invisible and the intangible. The experience leads you gently and safely through your inner images, different feelings and states of being. It is an invitation to let yourself fall into uncertainty, to trust, to give in, to be touched, and yet be entirely with yourself.

Commissioned by B_Tour
in the context of Tracks in a Box.

Guidance: Shelley Etkin, Camila Rhodi
Voices: Shelley Etkin, Charlotte Happe
Thanks to Klara Pfeiffer

Photos © Joana Dias
Tempelhofer Feld, Berlin, 2019

2018: Logistics of Loneliness in collaboration with  Marja Christians. Rough Proposals, Mousonturm, Frankfurt

2016 : Walking with Ghosts in collaboration with Ghost Cinema

In the 1920’s, Filmstadt Weißensee, the now almost forgotten area in northern Berlin was once the city’s cultural hotspot. Stars like Marlene Dietrich and Fritz Lang were there, at Calagariplatz and on the Gustav-Adolf Straße, which at that time was lined with bright lights and 20 cinema houses. Among the finest and most popular of these was the former silent-movie theater Delphi. Direct on Caligariplatz, this relic rests like a hidden jewel, unrecognizable from the outside, and practically unknown to most Berliners. The theater miraculously survived WWII, and remained closed during GDR times. In fact, the theater has remained closed to the general public since the war, and remains so today. This building was one of the first cinemas of its size in the world, and the original interior of this former 870 seat theater remains intact. It is one of the best remaining examples of the glamour and flair of this important cultural era- the heyday of German silent film.

Directed by Paola Barreto
Videoperformance ( audiovisual editing + live projections/ mapping ) : Moana Mayall

Parangotela  performance: Camila Rhodi

2015: Fluids” – a 2015 reinvention of Allan Kaprow’s happening from 1967.  Artist Alexandra Pirici

This version of Kaprow’s “Fluids” operates a change of material: from ice-blocks to the assemblage of the human body. The new work attempts to re-address and re-position itself in relation to some of the issues the original work tackled with – the medium of sculpture, the concept of monument, temporality, participation, production of collectivity – while also considering the human body as medium and the materiality of “immaterial” performative works and their economy at a time of a (second) “performative turn” in the visual arts. It also attempts a more abstract way of being in common – the participants building themselves into a 9 meters long, 3 meters wide structure instead of building an exterior object, thus reflecting on the effects of today’s immaterial labour (in affluent societies) as opposed to the former dynamics of the industrial age and the factory floor.
The living, sounding sculpture “melted” away from 12 to 8 p.m. in Potsdamer platz.

curated by Lisa Marei Schmidt and Udo Kittelmann                                               production: Hannes Frey
participants: Ferre Naima, Valerie Renay, Zuzanna Ratajczyk, Paul Walker, Jozefiens Beckers, Reza Mirabi, Juan Gabriel Harcha, Julia Illmer, Josephine Findeisein, Marc Carrera, Annekatrin Kiesel, Amit Goldenberg, Miriam Kongstad, Maria Ferrara, Iam Campigotto, Helen Follert, Kathrin Knopfle, Jasmin Ihrac, Gregori Homa, Katarzyna Guzowska, Jolika Poulopoulou, Darcy Wallace, Julia Jadkowski, Ana Mrdjanov, Leonie Nadler, Jana Kruger, Carina Erdmann, Sura Hertzberg, Ralph Klein, Annette Zander, Alice Heyward, Yuca Meubrink, Viviana Druga, Rene Ricarda Vollhardt, Edith Buttingsrud Pedersen, Carlos Kong, Emily Ranford, Thomas Mielmann, Tobias Kluge, Corinne Schlichting, Lenine Guevara, Martha Hincapié Charry, Andrei Barza, Rachell Clark, Tatiana Heide, Laura von Raffay, David Loscher, Neele Ruckdeschel, Sven Hermans, Frida Yngvesson, Hanna Nordqvist, Giulia Heder, Sarah Bouars, Maddy White, Miha Jensterle, Rebekka Böhme, Pedro Vieira da Costa Filho, Juliane Dames, Jessica Kammerer, Paul Riemann, Eva Rozalia Tankó, Judica Albrecht, Lola Lustosa, Camila Rhodi, Dmitriy Povernov, Benjamin Egger, Uwe Zimmermann, Sarah Berger, Marie Zwinzscher, Sophie Camille Brunner, Anton Rose

commissioned by Nationalgalerie – Berlin in the frame of Stadt/Bild, Berlin Art Week

2015: ‘I am not a feminist but’  in collaboration with Makiko Yamamoto for Liquid Architecture . Melbourne . Austrália 

This work was produced in collaboration with Japanese artist Makiko Yamamoto. Rhodi co-developed a performance piece to accompany Yamamoto’s 12 minute audio piece filled with the single sentence,  ‘I’m not a feminist but…’. Yamamoto reads the sentence out loud with different distortions in speed, tone, and volume.  Together both artists made the video performance.

i 'm not feminist but 1i'm not feminist but Melbournei'm not melbourne 1i'm not Melbourne 2

2013 No Parking

Solo site specific performance about home for the master project of Jasmin Assade at Freie Universität Berlin.


U-bahn Antigone in collaboration with Yaell Sherill

Live Performance for steinum knitwear for Berlin Fashion Week, Berlin, Germany

Over 18 only (video installation)



OVER 18 ONLY is a multimedia performance based on a parallel between the artist’s love affairs and her sexual abuse experience in childhood. In a confined space with one bed, each person from the audience lays down comfortably on the bed, seethe first video called Long Time No Sex projected on the ceiling and hears with headphones a mixed soundtrack based on Serge Gainsbourg‘s song Je T’aimeNext, another video called Over 18 Only begins in a small projection on the wall beside the pillow where the head of the spectator is supposed to be. This video describes the sexual abuse.
This random and ongoing video installation is a mixture of the funny, erotic and ironic stories of love affairs written in red on a toilette paper and a black and white serious story of violence.

Long time no sex (video)

Over 18 Only (video)

The installation Over 18 Only combines the use of an installation comprised of two videos constructing the illusion of a private space, in a exhibition frame. The one-to-one audience is invited to dive in an atmosphere of intimacy, lying on the bed to watch the stories of a woman who looks for love and sex as a survivor of sexual violence when a child.


Venues (the whole video installation)

2017: Academy of Fine Arts Vienna. Vienna, Austria

2013:  100˚ Grade Festival. Sophiensaele. Berlin, Germany.

           15th Art and Media Biennale. Wroclaw, Poland.

           Month of Performance. Altes Finanzamt. Berlin, Germany.

           Musterzimmer Gallery. Berlin. Germany

2012: HB Berlin. Berlin, Germany.

          Agora. Berlin, Germany.


100˚ Grade. HAU/ Sophiensaele Festival. Berlin 2013.


100˚ Grade. HAU/ Sophiensaele Festival. Berlin 2013.

wro 1

WRO 15th Media Art Biennale 2013

wro 4

wro 2

Over 18 Only (video)


The video shows the past memories of the same non-fictional woman in her childhood. This time the viewer gets in contact with the details of sexual abuse experienced by a child at home. ‘Home for me has never really meant safeness’

A black and white serious story of violence.




The Owner of the Orange Beetle

The Owner of the Orange Beetle, a performance-installation  inside an Orange Volkswagen Beetle.


“The Owner of the Orange Beetle” is an autofictional performance-installation based on the memories of the artist Camila Rhodi. Set in the streets of Rio de Janeiro, each day Rhodi takes visitors to different locations to share significant stories from her life alongside her “beloved” Orange Beetle. The theft of the Beetle served as a hook for the artist to address existential themes, such as the decisions we make in life, the values ​​we assign to each moment, beauty, and death.

The performance occurs in three moments:

The first moment is only for the three passengers of the Beetle. It begins when the Beetle travels through the streets. Each day features a different route of streets, stories, events, and a soundtrack consisting of the same music from the cassette tapes Camila used to listen to in her daily life inside her Beetle.

The second moment takes place in the foyer of the venue. It starts shortly after the passengers are dropped off at Oi Futuro when Rhodi departs again and remains inside the vehicle with the cameras on, transmitting everything that happens in real-time to the foyer of the venue. There, where the audience is, a video jam session takes place projected on a triptych of screens, showing a collage of Beetle images along with the recorded images from inside the Beetle during that day’s ride and the live transmission of the artist inside the vehicle somewhere in the city. Meanwhile, Siri composes experimental music live as well.

In the third moment, the audience is greeted by the actress Flávia Espírito Santo, who delivers a nonsense text as if she were a supposed guide of the supposed “Beetle Museum”, where replicas of stolen objects are displayed. At some point, Camila arrives at the venue to continue recounting her memories from the theft of the Beetle. This time, with the use of mapping on her body, her friends projected on the triptych of screens, and the reading of the also biographical letter that Jô Bilac wrote to Camila to discuss loss, the artist concludes the performance.

1˚ act (50 min): the audience was invited to get inside the car to go around the streets of Rio de Janeiro.
2˚ act (1 hour): jam session conducted by Ricardo Siri and Ricky Seabra, at the same broadcasting Camila live performing inside the car in some parts of the city.
3˚ act (40 min): video installations, video mappings, live music, and Camila performing.  Directed by Fabio Ferreira. Playwright: Jô Bilac and Camila Rhodi.
It was integrated with other medias, but still with a director. On this piece I was talking about losses. Based on the jacking of my orange beetle, on this performance I took people on different points of the city to tell them about existential facts of a life, the pain and the beauty of it.

It premiered on April 8, 2011, at Oi Futuro Flamengo and had a two-month run from Friday to Sunday.


A Dona do Fusca Laranja é uma performance-instalação autoficcional baseada nas memórias da artista Camila Rhodi. Ambientada nas ruas da cidade do Rio de Janeiro, a cada dia Rhodi conduz os visitantes por diferentes pontos, compartilhando histórias marcantes de sua vida ao lado de seu “amado” Fusca Laranja. O roubo do Fusca serviu de gancho para a artista abordar temas existenciais, tais como as decisões que tomamos na vida, os valores que atribuímos a cada momento, a beleza e a morte.

A performance ocorre em três momentos:

O primeiro momento destina-se apenas aos três passageiros do Fusca. Ele se inicia quando o veículo circula pelas ruas. A cada dia, um roteiro diferente de ruas, histórias, eventos e trilha sonora é apresentado. Esta última consiste no uso das próprias músicas contidas nas fitas cassetes que Camila costumava ouvir no seu dia a dia dentro do seu Fusquinha.

O segundo momento ocorre no foyer do espaço. Ele se inicia logo após os passageiros serem deixados no Oi Futuro, quando Rhodi parte novamente e permanece dentro do veículo, com as câmeras ligadas, transmitindo em tempo real tudo o que acontece para o foyer do espaço. Lá, onde o público se encontra, ocorre uma jam session de vídeo projetada em um tríptico de telas, exibindo uma colagem de imagens de fuscas juntamente com as imagens gravadas no interior do Fusca durante o passeio daquele mesmo dia e a transmissão ao vivo da artista dentro do veículo em algum lugar da cidade. Paralelamente, Siri compõe suas músicas experimentais também ao vivo.

No terceiro momento, o público é recebido pela atriz Flávia Espírito Santo, que apresenta um texto nonsense como se fosse uma suposta guia do suposto “Museu do Fusca”, onde réplicas de objetos roubados são expostas. Em algum momento, Camila chega ao espaço para continuar a contar suas lembranças a partir do roubo do Fusca. Desta vez, com o uso de mapping em seu corpo, seus amigos são projetados no tríptico de telas e a leitura da carta também biográfica que Jô Bilac escreveu para Camila para discutir sobre perda, a artista finaliza a performance.


A estréia ocorreu em 8 de abril de 2011 no Oi Futuro Flamengo e teve uma temporada de dois meses, de sexta a domingo.


Rio de Janeiro 2010.

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