Parables can be found in literature, in images, and in the ways we name objects and proper names. Ventura Profana is, since her provocative name, a researcher of parables. Her gaze turns to the biblical narratives, the tabernacles’ architectures to come, the many iconographies of the mass cultures in which Christianity is included, the biblical verses that rhyme with the choruses of her songs.

In her proposed occupation for Pivô Satellite, the artist continues her interest in the collage and juxtaposition of images that make the narratives surrounding protestantism in Brazil and the world more complex – what are the relationships between the soccer fields and the lambs of God?

On photographs of her body and close-ups of the destroyed miniature images of Christ the Redeemer, the artist writes: “come and you will still see abominations greater than these”, quoting Ezekiel 8:15. To be in communion is to be engaged in an act of love; the video “Tabernaculo da edificação” is about this collective journey, the grand finale of her occupation. The images begin with the voice of Ventura Profana’s grandmother saying “My Father, how nice it is to evangelize”. It is as nice to see, throughout the video, the artist’s joy building her own temple, in a movement contrary to cisnormativity and whiteness, alongside her friends Bianca Kalutor and Rainha F. To build it is essential to establish a communion of our hands, voices and routes – which, as Ventura and his grandmother talk at the end of the video, often should not be an easy path. The artist’s poetics, therefore, seems to be a poetics of buildings. May the audience learn from her gestures and her courage to build their own temples.