The Sacred, Without World is the first chapter of a performative research project later extended through other iterations. Presented at the Musée d’Art et d’Histoire in Geneva, the work takes the form of a frontal theatrical dispositif combining live performance, projected text, sound composition, and choreographed movement.

Taking Marlene NourbeSe Philip’s Zong! as a point of departure, the performance moves through fracture, repetition, and temporal rupture. Language appears on screen as visual material: declarative, broken, and charged. Rather than illustrating colonial violence, the work stays with its afterlives in voice, rhythm, and interruption.

Loops, bells, seismographic vibrations, oceanic textures, and amplified speech structure the sonic field. Popular Latinx songs enter the composition as memory, counterpoint, and disturbance, while ballroom rhythm connects the piece to Black queer movement and diasporic performance. For instance, the Se me olvidó otra vez by Juan Gabriel was reinterpreted as a lament addressing anti-Black sentiment within Latinx communities, reframing the song as a call to awaken a suppressed Black memory.

Vir Andres Hera performs a recurring jaguar figure within the museum space, bringing animal presence into an institution shaped by classification and display. Across the piece, choreography, citation, and sound press toward one gesture: to re-member bodies dismembered by history.