Tales Frey, Getting the Mold, 2013. Video, 1’04’’. Edition: 5 + 2 P.A.
I stayed for the duration of two groups of narrow lighted candles on my hands.
I constantly kept as still I can (which is practically impossible). The goal was to shape a sort of pair of “gloves” on me, but the hot liquid didn’t fix to my body and just burned my two hands. The video recording is presented as exaggerated and accelerated video performance. The movement in the action is quite subtle when viewed in its full time, but when it is unreasonably fast, it suggests a kind of possession due to the oscillation energy of my body.
 Functional Metaphors for Bodies in Space, Galeria Monumental, Lisboa, Portugal.
 FONLAD – Festival Internacional de Vídeo Arte e Performance. Santa Clara Gallery, Coimbra, Portugal.
 Rapid Pulse International Performance Art – Video Series / Embodied Politics. Curated by Giana Gambino. Defibrillator Gallery, Chicago, USA.
 The Nature of the Margin. Curator: José Aparício Gonçalves. XX Queer Lisbon Festival, Oficina Irmãos Marques, Lisbon, Portugal.
 Brasil: Ficciones, Curated by Laurem Crossetti, Espacio Tangente, January and February 2016, Burgos, Spain.
 Collective exhibition(Tra)vestir um Fa(c)to. Curated by José Maia. Espaço MIRA, Porto, Portugal.
 Brasil: Ficções. Curated by Laurem Crossetti. Armazém do Chá, Porto, Portugal.
 Collective exhibition Fashion and Religiosity in Body Marks. Organization by Cia. Excessos. SESC Rio Preto, São José do Rio Preto, Brazil.
 Collective exhibition Fashion and Religiosity in Body Marks. Organization by Cia. Excessos. SESC Campinas, SP, Brazil.
 Collective exhibition Fashion and Religiosity in Body Marks. Organization by Cia. Excessos.Centro para os Assuntos da Arte e Arquitectura – CAAA, Guimaraes, Portugal.
Tales Frey, Getting the Mold (Triptych), 2013. Photos, 48 x 27 cm each. Edition: 5 + 2 P.A.
Tales Frey, Getting the Mold– Object, 2013. Photo, 50 x 33,3 cm. Edition: 5 + 2 P.A.