| Sumario: | The political potency of Eleonora Fabião's work lies in the ways social and political imagination builds communities, forms of conviviality and collective actions to which negotiation is key. Fabião imagines impossible collaborations between places, times, matters and forces that outlive the actions of the performance. Commissioned by the 34 São Paulo Bienal (2021), Nós aqui, entre o céu e a terra (we, here, between sky and earth) involved twenty-six healthcare, education and culture institutions located in a range of 5 km distance from the Ibirapuera Park. A flight of twenty-seven chairs, borrowed from those institutions, was raised by four long bamboo poles attached to the legs of seven participants who would carry them (one chair at a time) to the Ciccillo Matarazzo Pavilion. Chairs and poles were set as installations, sculptures, and hosted a conversation between artists, workers from the collaborating institutions, and audience. In this article, I will be unpacking the threads that connect the visible and the invisible aspects of the performance engaging human and nonhuman matters through affective alliances and artistic connectivity, crucial to the vibratory afterlife of the performance or its proliferating potency. Rather than participating or interacting with the street, the park or the Biennial, the performance's artistic connectivity generates and reverberates invisible forms of affect that bind people, things and spaces together in a continuous moving force, in the double sense of being part of a movement and being moved/touched by it. Thus, I will be suggesting that we, here, between sky and earth creates a shared space-time for communal political tactics which is deeply grounded in building and sustaining connections not only between people and public institutions but also between human and non-human matters. Such connectivity supports ethical values crucial to resisting and opposing destructive and authoritarian neoliberal political forces.
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