The AND Lab | Research Centre for Art-Thinking & Politics of Togetherness is a practice-based platform dedicated to the transmission and other ways of sharing Modus Operandi AND (MO_AND), as well as to its applications and continuous unfolding. MO_AND is a methodology, created by anthropologist and Brazilian artist Fernanda Eugenio, concerned with an ethical-aesthetic, political and experimental investigation of relations and reciprocity. Of transversal applicability, ranging from the daily handling of living-together to collaborative creation, from artistic practices to care practices; from the work of mediation to the work of intervention, from the cartography of individual affects to the struggles for transformation and social justice, MO_AND can be summarized in a threefold procedure: Re-parar, Reparagem and Reparação (three dimensions that are embedded in the Portuguese word Reparar – stopping-again, noticing, repairing/taking care of). Part of what makes MO_AND at the same time singular and broad is the commitment to perform the concepts, turning them into tools and returning them to a very direct and grounded/situated use. The connective AND gives name both to the Research Centre and the modus operandi, synthesizing an approach that is based neither on knowing (the logic of IS) nor finding (the logic of OR) but in flavour and the encounter (the logic of AND). Based in Lisbon (Portugal) with clusters in Madrid (Spain) and Curitiba, Rio de Janeiro and São Paulo (Brazil), AND Lab offers a manifold and geographically distributed programme – predominantly between Europe and South America -, comprehending three dimensions: researchcreation, transmission-sharing and care-monitoring.

Ana Dinger is an artist and researcher, PhD Candidate in Culture Studies (Lisbon Consortium program) at the Faculty of Human Sciences from the Catholic University of Portugal and researcher affiliated to CECC (Research Centre for Communication and Culture). Her research has been supported by a fellowship disbursed by FCT (Portuguese Foundation for Science and Technology) and focuses on metonymic processes involved in the construction of continuity of performance-based artworks. Holder of a degree in Sculpture by the Faculty of Fine-Arts of the University of Lisbon and a post-graduation in Contemporary Art by the Catholic University of Portugal, she also has training in dance, having attended the Higher School of Dance in Lisbon (2003/2004) and the Choreographic Research and Creation Course of ForumDança (Porto edition, 2003). The inter and transdisciplinary background has supported the writing of published and unpublished essays and academic articles on subjects related to the visual and performative arts, as well as her teaching experience in the field of dance history (ADCS, 2011-2013), guiding tours to visual arts’ exhibitions and instructing artistic workshops for children. As part of her artistic research, she joined the project Topias Urbanas (commissioned by Teatro Municipal Maria Matos, Lisbon) and is one of the resident collaborators of AND Lab I Research Centre for Art-Thinking & Politics of Togetherness, working together with artist, anthropologist and founder Fernanda Eugenio, curating events, devising exercises for workshops of transmission of MO_AND I Modus Operandi AND (Eugenio’s set of tools for composition and improvisation) and, also, sharing the coordination of one of its lines of research: Metalogue & CoOperation. Five editions of their collaborative Metalogue Series took place since 2015, a series of situated and performative conversations that can result in forms as diverse as a card game, a lectureperformance written in real time or a task-oriented performance in a garden. She is currently interested in investigating the uses of Modus Operandi AND in dramaturgy and other dimensions of translatability.

Andrea Capella studied Cinema, specializing in Cinematography at UFF, where she later taught from 2004 to 2006. She is the cinematographer oi several films, among them“Body Electric” (Marcelo Caetano), She moved one, she moved them all (Sandra Werneck), “Hangover” (Bruno Vianna), “The Gorilla Woman’s Escape” (Felipe Bragança and Marina Meliande) , “The Joy” (Felipe Bragança and Marina Meliande, selected for Cannes Director’s Fortnight), Claun (Felipe Bragança) and more than 20 short films such as: “In your company” (Marcelo Caetano, Best Photography Award – Close 2012) and “Inside a Drop of Water” (Felipe Bragança and Marina Meliande, Best Photography Award – Kodak Film School Competition, Brazil). She directed, with Peter Lucas, the short film “Snapshots”, which was awarded Best Picture at the 2011 no Festival Primeiro Plano and co-directed “Stay Still Tired” – an episode of the long Neverquiet. As a visual artist, she develops works in various media such as photography, video and drawing and collaborates with various theater, visual arts and dance artists, with experience in lighting, photography, new technologies and video.

Dani d’Emilia is a transfeminist artist and educator working internationally across performance art, devised theatre, visual arts and radical pedagogy projects since 2001. She has co-founded the immersive theatre company Living Structures (UK, 2007) and the artistic space Roundabout.lx (PT, 2012) and was a core member of the performance collective La Pocha Nostra (MX/US, 2011-2016) as well as the transfeminist performance duet Proyecto Inmiscuir (ES/MX, 2015-17). Dani is currently a research fellow of the Musagetes Foundation (CA), exploring possibilities for decolonial education through artistic and critical practices, collaborating closely with the educational programs Gorca Earthcare program (SLO), Free Home University (IT) and the collectives Gesturing Towards Decolonial Futures (University of British Columbia, CA) and AND Lab (Research Centre for ArtThinking & Politics of Togetherness, PT/BR) as well as continuing to develop her work in several other research-in-practice contexts. She is particularly interested in embodied political-affective practices that merge artistic, activist and spiritual realms, and has been developing a vast body of work around the concept-practice of Radical Tenderness since 2014. Dani’s training includes an MA in Comparative Literature and Cultural Studies by the Universidad Autonoma de Barcelona (2016); MA from the Independent Studies Program directed by Paul B. Preciado in PEI/MACBA – Museo de Arte Contemporanea de Barcelona, ES, 2015); BA in Devised Theatre and Visual Arts Practices from Dartington College of Arts, Devon (UK, 2007); Diploma in Mime & Physical Theatre from the Desmond Jones School, London (UK, 2003); and training with several practitioners with whom throughout the years she has studied Devised, Physical & Anthropological Theatre, Performance, Visual Art, Radical Pedagogy as well as various physical practices. She is currently undertaking the Therapeutic Qigong teacher training course in the School of Traditional Chinese Medicine in Lisbon (PT). Dani has presented work and facilitated workshops in a wide range of institutional and autonomous spaces in Europe (Italy, Portugal, England, Scotland, Greece, Austria, Latvia, Poland, Spain, Slovenia, Croatia, Germany, France) and in the Americas (Brazil, Colombia, Mexico, Costa Rica, Curaçao, Guatemala, United States and Canada)

Fernanda Eugenio is an artist, anthropologist, researcher and lecturer. Her work involves field research, writing, expanded performance (body, installation, video, photography and situated urban propositions) and, mostly, the construction of transversal ways of doing towards relational composition and creation by re-materialization. She holds a post-doctoral degree from ICS-University of Lisbon (2012) and both a doctorate (2006) and a master degree (2002) in Social Anthropology from the National Museum, Federal University of Rio de Janeiro. Between 2003 and 2017, she worked as associate research fellow at CESAP/IUOERJ/UCAM (Rio de Janeiro, Brazil) and, between 2005 and 2012, she worked as adjunct professor in the Department of Social Sciences of PUC-Rio. For the last 15 years she lectures, as visiting scholar, in several curricula across the fields of social sciences, arts and performance, both national and international: Hemispheric Institute of Performance and Politics, New York University; Master Solo Dance Authorship HZT-Berlin; Academy of Media Arts Cologne; Forum Dança, Lisbon; Universidade Nova de Lisboa; HomeTown College Cambridge; IUNA Buenos Aires; Universidad de Chile; San Art Gallery Ho Chi Mihn City, Kestle Barton Rural Centre of Arts, Royal Danish Academy of Fine Arts – School of Conceptual and Contextual Arts; UFF; UFRJ; UNIRio; UDESC; UNESPAR; UFGRS; UFBA; UFV; UFPI; UFT; UnB; Technical Course in Dance of Fortaleza; School and Faculty Angel Vianna, Rio de Janeiro, etc. Her publications, artistic creations and collaborations circulate through several countries, including Brazil, Chile, Argentina, Portugal, Spain, Germany, Italy, Austria, France, Greece, Czech Republic, United Kingdom, USA, Canada and Vietnam. She is the director of the research centre AND Lab | Art-Thinking & Politics of Togetherness – based in Lisbon with clusters in Brazil (São Paulo, Rio de Janeiro and Curitiba) and in Spain (Madrid) -, the platform from which are explored the emergent in-between places of a trajectory marked by intensive collaborations, displacements and deviations, between strict academic research and a singular investigation of the artistic and political uses of ethnography as circumscriptive and performative tool. This research, an incessant work-in-progress, has been named differently throughout the years (System IS-OR-AND, Mode of Life AND, Reciprocal Ethnography, Ethnography as Situated Performance, Re-Program, Reparagem, Pensacção), till the current nomenclature was adopted – Modus Operandi AND -, during the period of intensive collaboration with the choreographer João Fiadeiro (2011-13), with whom she founded AND Lab. Of her constant investment in “undisciplined collaboration”, she highlights the following: the relationship with the collective Alfinete Amarelo/O Pavão Popular (since 2007), with which she created the play MegaCena Contemporânea (2009) and worked on the construction of propositions that mix humour with protest, through the systematized exploration of four operations (accumulation/coexistence, order/corruption, imitation/proliferation, cataloguing/coding); the site-specific CITY LABS project, developed with contextual artist Gustavo Ciríaco (since 2009); the partnership with Corporeilabs / Psicologia-UFF and with the collective Corposições (since 2013), in the scope of which a series of protocols for artclinic interlocution have been worked on, particularly deployed in a more direct collaboration with the psychologist Iacã Macerata within AND’s line of research AND Care; the long-term commitment with Soraya Jorge in the ethical-political-somatic investigation of the intersections of Authentic Movement and Modus Operandi AND (since 2014); the collaboration with the artist and researcher of MO_AND Francisco Gaspar Neto (since 2014), with whom she created the encounter-apparatus AND HOW; the collaboration with the artist and researcher Ana Dinger (since 2015), with whom she co-created the Metalogue Series, a performative writing project that explores the live production of intermezzo objects, neither academic presentation nor happening; the design of the Topias Urbanas project, in collaboration with the architect Joana Braga, commissioned by Teatro Maria Matos (2016-17); the collaboration with Dani d’Emilia in the creation of sensorial circuits and rituals within the scope of Practices of Dis-immunisation (since 2018). The path of Fernanda Eugenio has been marked by other and diverse collaborations with artists, architects, writers, pedagogues, psychologists and researchers from the most varied fields, having resulted in the creation of hybrid artefacts, performances, performance-games and plays, as well as in the production of events, meetings, exhibitions and publications, etc. Fernanda Eugenio is also a member of the RIA-Artistic Research Network and the collective Baldio-Performance Studies, group with whom she co-created the first Experimental Course in Performance Studies in Portugal (Taking Position: the Political and Place, 2016).

Gatomorto is a collective of architects, artists, designers and builders founded in Trafaria, Portugal in 2016. They developed projects as Casa do Vapor, Plataforma Trafaria, Almar Project and in 2018 they were in residency at Casa da Cerca where they built 17 wooden pieces for the gardens, organised 15 collective meals and they also did an exhibiton about the process of their work during the residency. Developing projects to generate activation and thinking about spaces. Occupying and transforming the urban space, public spaces, abandoned spaces and non-places. Wooden structures, site-specific installations and temporary architecture have been developed through experimentation and collaborative process. To listen, look, feel, talk, breathe and live the space is the starting point to find solutions and to create spaces. Gatomorto has a carpentry that works at the Former Prison of Trafaria and its called Oficina do GatoMorto. It is open under appointment to anyone the would like to visit the workspace. It is part of Gatomoro: Maddalena Pornaro (IT), Miguel Magalhães (PT), Samuel Boche (FR) e Sofia Costa Pinto (BR).

Gustavo Ciríaco is a Brazilian multimedia performing artist working and living between Rio and Lisbon. Formerly a political scientist, Ciríaco has over the years developed a multiform body of art works that dwell between visual theatre and conceptual dance, passing by live exhibitions and sitespecific works where architecture, visual arts and performing arts meet in conversational performances. His works have been presented in major national and international festivals, galleries and venues as Crossing the Line/N.York, Casa Escendida/Madrid, Museu Serralves/Porto, Mercat de Flors/Barcelona, Alkantara, Culturgest, TNDM II, ZDB, Museu Berardo/Lisbon, Ferme de Buisson, Paris Quartier d’Été/Paris, Tanz im August/Berlin, Al-Mammal Foundation/Jerusalem, Prague Theatre Festival/Prague, Vooruit/Ghent, Tokyo Wonder Site/Tokyo, Digital Art Center/Taipei, CENEART/Mexico City, Panorama, CCBB/Rio de Janeiro), Arqueologías del Futuro/Buenos Aires, SESC, Itaú Cultural/São Paulo, Salón 44/Pereira, Walk&Talk/Azores, London Festival, BAC/London, NottDance/Nottingham, Arnolfini/Bristol, Metropolis/Copenhagen, NAVE/Santiago, FIDCU/Montevideo, FADJR/Teheran. His main works to date are “Here whilst we walk”/2006, “Still – under the state of things”/2007, “Where the horizon moves”/2012, “A room of wonder”/2012, “Gentleness of a Giant”/2016, “Voyage to a wrinkled plain”/2017. In 2018, he premiered “Cut by all sides, Open by all corners” at the Dona Maria II National Theatre, under Alkantara Festival, in Lisbon, later shown at Museu Serralves, in June 2019. Since 2018, Ciríaco is part of the second cohort of researchers at THIRD, DAS Graduate School – Amsterdam University of the Arts.