The Red Room
THE RED ROOM
Durational performance / immersive installation
THE RED ROOM is a durational performance that functions as an immersive installation and visual laboratory, exploring the ways identities are constructed, multiplied, and dissolved within digital territory.
Born from performative research, the piece operates at the intersection of the physical and the virtual, the concrete and the dreamlike. The body becomes an interface a living medium through which self-representation and regimes of visibility are questioned within ecosystems shaped by systems, filters, and algorithms.
Through a pop, saturated, and deliberately artificial aesthetic, THE RED ROOM develops a visual grammar informed by glitch, absurdity, and makeup as simultaneous strategies of masking and revelation. Each body acts as a communication device, constantly shifting between the human and the posthuman, between flesh and image. The artificial is embraced as a legitimate form of truth if the viewer chooses to recognize it as such.
In this space, the gaze becomes part of the action. The spectator oscillates between presence and mediation, entering a hall of mirrors where identity never appears complete. The “self” exists as a mutable collage.
The title refers to a transitional space a suspended territory where everything can mutate. Identity performs in loop: it deforms, erases, and reconfigures itself endlessly. Narrative linearity gives way to fragmentation and unfinished gestures, echoing the logic of digital platforms where images are continuously edited, amplified, or discarded.
In a present where queer and dissident identities are confronted by hegemonic narratives that attempt to limit or erase them, THE RED ROOM emerges as a visual and political manifesto. Through dreamlike language, play as resistance, and a heightened sensory atmosphere, the piece proposes inhabiting identity as a mutable and radically free territory.
The visual ceases to be a mere reflection and becomes living matter a collective space of invention where the marginal shifts to the center and each gesture challenges imposed order.
THE RED ROOM invites audiences to question the idea of a fixed self. It proposes identity as fluid, adaptive, and constantly renegotiated especially in virtual spaces that promise control while revealing only fragments of something far more complex. Like dreams, where roles and characteristics blur, the piece explores the freedom of detaching from static definitions, embracing multiplicity, confusion, recognition, and disidentification.
CREDITS
direction and creation TOMÁS PINTOS in collaboration with MABEL OLEA
performers EMILIA ARNOLD TOMÁS PINTOS
art direction TAMARA PEREZ
set decorator and paint artist ALBERTO ORDUÑA
sound design ZOE LENA REBECCHI
colorist SANTIAGO SKIAPPA
makeup direction BETANIA ROMERO
makeup assistants JESÚS ALAMEDA MARÍA LIPCHAK
lighting design and P3 documentation MARÍA GIL NAVARRO
production / external eye MARTINA LIENDO
P3 team JANA TRAVÉ DUFNER PABLO CICCARELLI
The Red Room
THE RED ROOM
Durational performance / immersive installation
THE RED ROOM is a durational performance that functions as an immersive installation and visual laboratory, exploring the ways identities are constructed, multiplied, and dissolved within digital territory.
Born from performative research, the piece operates at the intersection of the physical and the virtual, the concrete and the dreamlike. The body becomes an interface a living medium through which self-representation and regimes of visibility are questioned within ecosystems shaped by systems, filters, and algorithms.
Through a pop, saturated, and deliberately artificial aesthetic, THE RED ROOM develops a visual grammar informed by glitch, absurdity, and makeup as simultaneous strategies of masking and revelation. Each body acts as a communication device, constantly shifting between the human and the posthuman, between flesh and image. The artificial is embraced as a legitimate form of truth if the viewer chooses to recognize it as such.
In this space, the gaze becomes part of the action. The spectator oscillates between presence and mediation, entering a hall of mirrors where identity never appears complete. The “self” exists as a mutable collage.
The title refers to a transitional space a suspended territory where everything can mutate. Identity performs in loop: it deforms, erases, and reconfigures itself endlessly. Narrative linearity gives way to fragmentation and unfinished gestures, echoing the logic of digital platforms where images are continuously edited, amplified, or discarded.
In a present where queer and dissident identities are confronted by hegemonic narratives that attempt to limit or erase them, THE RED ROOM emerges as a visual and political manifesto. Through dreamlike language, play as resistance, and a heightened sensory atmosphere, the piece proposes inhabiting identity as a mutable and radically free territory.
The visual ceases to be a mere reflection and becomes living matter a collective space of invention where the marginal shifts to the center and each gesture challenges imposed order.
THE RED ROOM invites audiences to question the idea of a fixed self. It proposes identity as fluid, adaptive, and constantly renegotiated especially in virtual spaces that promise control while revealing only fragments of something far more complex. Like dreams, where roles and characteristics blur, the piece explores the freedom of detaching from static definitions, embracing multiplicity, confusion, recognition, and disidentification.
CREDITS
direction and creation TOMÁS PINTOS in collaboration with MABEL OLEA
performers EMILIA ARNOLD TOMÁS PINTOS
art direction TAMARA PEREZ
set decorator and paint artist ALBERTO ORDUÑA
sound design ZOE LENA REBECCHI
colorist SANTIAGO SKIAPPA
makeup direction BETANIA ROMERO
makeup assistants JESÚS ALAMEDA MARÍA LIPCHAK
lighting design and P3 documentation MARÍA GIL NAVARRO
production / external eye MARTINA LIENDO
P3 team JANA TRAVÉ DUFNER PABLO CICCARELLI