Dudu Quintanilha
Sun of tomorrow
11 SEP until 26 OCT 2026
Opening – 11 SEP 2025, 6-10 pm
For Berlin Art Week 2025, PSM presents new works by Berlin-based artist Dudu Quintanilha (São Paulo, 1987). Working between performance, video, photography, and collaborative processes, Quintanilha explores the intersections of intimacy, collectivity, and the political dimension of the body. His practice approaches art as a form of documentation—yet always seeking experimental ways to transform the act of recording into an open field of experience.
Dudu Quintanilha
Faces, 2025. Two-channel video installation, flatscreens, loop (uneven length of channels, channel 1: 24:55 mins, channel 2: 20:25 mins)
Courtesy of the artist and PSM
The exhibition brings together two major recent projects:
Erotics in Participation (2024) is a three-channel video installation developed from a workshop conceived for Stadt:Kollektiv at the Düsseldorfer Schauspielhaus, with the support of the Inter Media Art Institute IMAI in Düsseldorf, and with choreographic advice by Katja Cheraneva. Starting from the charged concepts of eroticism and participation, the project asked: Can we still be experimental with the erotic today? How do digital intimacy, polyamory, safe spaces, and rising conservative violence reshape our desires and gestures of connection? Participants explored new physical vocabularies of desire, affection, fear, and rejection, while translating their movements into silhouettes behind a screen. The resulting video, accompanied by a soundtrack by Lille Lake and Antonia Beeskow, creates a spatial montage that includes viewers inside a participatory environment where their own shadows and movements can join the work.
Faces (2025) is a two-channel video installation with documentation of the performance Sun of Tomorrow at the Neue Nationalgalerie, Berlin. Performed by Dudu Quintanilha and Leonard Ramm, the work unfolds as a duet improvisation. Concentrating movement in the face, the performers explored presence, proximity, and the imagination of hope—its invention and collapse. Filmed in real time and transmitted live as moving portraits, their faces became both mirror and distortion.
Through these works, Quintanilha explores the act of documenting and the act of seeing.
