The work to be shown at the Bienalsur is an installation comprising the two already produced iterations of the work Os sons deles, in addition to a new chapter for the series. 

The new chapter focuses on Brazilian historian Samyr Leite’s research into a gay ball that existed between 1986 and 1992 in Rio Branco, Acre. The ball awarded the prize of the Pantera Gay (Gay Panther) to the best contestants, most of whom had grown up within the region’s impoverished working class that formed in the aftermath of the Amazon region's rubber crisis. Like the other chapters from this series, the structure engages the tradition of tiled murals, a technique which reached South America during the early phases of European colonization. The mural depicts parts of the Panther’s costumes as documented in local newspapers as well as images of the Sabiá bird (which is also the name of the brand of tape the Panthers used for tucking, according to one contestant’s account). The work would be activated by a sound piece created and performed by a musician from the local queer club scene (tbd). The work therefore offers its tribute to the history of Acre's Gay Panther Ball by drawing it into proximity with other contemporary queer scenes. 

This series, for the first time shown together as a room installation, evoke an idea of kuir ancestry as a communion of bodies in constant reorganisation and composition. A personal process of queer memory outside of global north narratives.