Founded in 2019, Coreia is an experimental, critical, and discursive publication dedicated to the arts in general, maintaining a structuring relationship with dance. Published biannually, the journal positions itself as an independent and internationalist forum, centered on the discourse generated by works and artists. In this context, it prioritizes dissemination in Portuguese, embracing diverse formats ranging from scores, essays, interviews, to manifestos.

In Coreia #14, the edition is structured around a set of encounters, movements, and experiences that intersect body, memory, and narrative. Ricardo Valentim marks a starting point—arriving late and leaving early—while, with Carlo Canún, at Cine Savoy, a meeting of bodies unfolds, transforming into text and constructing their own stories. The unconscious choreographic movement and the everyday flight of birds are evoked through the work of Odile Duboc.

With Xueying Peng, a gesture of cooperation inaugurates the performance, transforming the space into shared imagination; the space thus emerges as a consequence of action. Sarah Lewis, in turn, reflects on a deferred encounter, confronting the bitter power of memory.

The edition also draws on the critical tools of CATPC and Human Activities, challenging reconsiderations of origins, responsibilities, and futures. The learning of falling is linked to trust in the ground, while Catarina Câmara affirms the body and movement as instruments of engagement with the world. Sepideh Khodarahmi explores the experience of excess; Itziar Okariz investigates knowledge through breath; Marine Chesnais experiments with the limits of apnea.

The body also appears as an archive of gestures, through Marta Lopes Santos, and as a narrative construction situated between the real and the imagined, in Raphael Daibert’s proposal. Sina Saberi invokes the body’s memory as a reference to place. Between pain and possibility, dance is asserted as a practice of collective transformation, founded on shared movement and the persistence of gesture.

The launch of this edition is accompanied by the performance The Erotic Clown, by Sepideh Khodarahmi, in collaboration with Cracked Bolos.

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The Erotic Clown, by Sepideh Khodarahmi

Balancing seduction, humor, and discomfort, The Erotic Clown presents eroticism as a relational and unstable field that emerges through excess, failure, and material degradation. The performance invites the audience to confront their own thresholds of pleasure and repulsion, questioning the ways in which erotic value is produced, regulated, and undone within social and aesthetic systems. It is an invitation to experience the landscape of pelvic articulation and to witness a narrative inscribed in organic matter and debris.

Sepideh Khodarahmi, an Iranian-Swedish artist, develops her work between dance and theater, exploring the tensions between pleasure and repulsion, construction and destruction. Using a vocabulary that blends movement inspired by clubbing culture and hyper-gendered drag, she creates performances of intense physical and symbolic presence, focused on self-objectification, power dynamics, and the absurd.

She holds a degree in Performance from the Academy of Music and Drama in Gothenburg and has also studied in the Department of Mathematics at Stockholm University, at the Broadway Dance Center, the Mime School of the Amsterdam Theatre and Dance Academy, and PACAP 8 in Lisbon. Throughout her career, she has collaborated with artists such as Hooman Sharifi, Marina Abramović, and Meg Stuart, presenting her work in prestigious institutions and venues including Sophiensaele (Berlin), the Royal Dramatic Theatre of Stockholm, the Teatro Nacional D. Maria II (Lisbon), and Kiasma — Museum of Contemporary Art (Helsinki).