About
Fannie Sosa is an afro-sudaka activist, artist, and pleasure scholar, currently doing a France-Brasil co-directed PhD called Twerk/Torque: Anti Colonial Strategies for Thriving and Surviving in Web 2.0 Times. They creates
mixed media knowledge packages that span performance / video installations / circular talks / extended workshops, using pleasure and its transmission as a radical act of resistance for an embodied afro-diasporic evolutionary praxis.
Their written work is set up to question binary epistemicides, scientific and institutional racism, and sex economical inequalities. They have been featured at the Tate Modern (UK), MOAD Miami (US), le Centre Pompidou (FR), the Broad Museum (US), Wiener Festwochen (AU), Nitéroi’s MAC (BR), IMG Gallery (UK), and Museo Reina Sofía(ES), among others. Sosa has collaborated with Tabita Rezaire, Navild Acosta, Bearcat, Miss Boogie, Ana Pi, and Julien Creuzet.
Sosa’s current projects involve Pleasure is Power, a multimedia conference around healing bass, sexual autonomy and oshunality, and Black Power Naps, a series of non mixed restful spaces around the world, in collaboration with Navild Acosta. They use their gender studies degree to pop their pussy even more severely than before.
Fannie Sosa currently lives and works between Europe and South-America.
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Hey. I am a child of many borderlines. I am a gay, gender bending, femme afro descendant child of a single mother who succumbed to her depression at a young age. As you can see, I am light skinned and ethnically ambiguous, and although aware of the advantage that signifies when moving in the world, I am proudly Afro-Latinx.
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I grew up in the whitest place in latin america, 90’s Argentina, where I was adopted. It was really disorienting. At age 18, I was awarded an academic achievement scholarship to come study in France, and I have managed ever since to scam my way around in Fortress Europe.
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Being a generation zero migrant in Europe triggered a sci-fi like journey to remember who I am. I decoded several things that have always been present in my body and soul, like my ass for example, like displacement, like some level of resilient imagination that keeps opening spaces for me and my people. I put them to work in different forms of writing, sculpture, music, dance, performance, art direction, fashion, and education. As an afro-latinx, queer, migrant, self employed artist, my main goal with my work is to gather and share as much knowledge as possible around Black survival and thriving.
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With my extensive movement education, youth work and academic background, I combine different formats and often tailor my practice according to my surroundings: I teach movement workshops, give talks, curate events employing Black/Indigenous/racialized artists, write texts and articles, and device musical/interactive sculptures aimed at reconnecting the audience with their pleasurable body. My work centers rest, laziness, idleness as a way of reclaiming otherwise hostile spaces.
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From left to right: my brother Eurico, my brother Leley, my sister Aida, my brother Jah, my brother Mikey, my sister Lulu, and me.
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mixed media knowledge packages that span performance / video installations / circular talks / extended workshops, using pleasure and its transmission as a radical act of resistance for an embodied afro-diasporic evolutionary praxis.
Their written work is set up to question binary epistemicides, scientific and institutional racism, and sex economical inequalities. They have been featured at the Tate Modern (UK), MOAD Miami (US), le Centre Pompidou (FR), the Broad Museum (US), Wiener Festwochen (AU), Nitéroi’s MAC (BR), IMG Gallery (UK), and Museo Reina Sofía(ES), among others. Sosa has collaborated with Tabita Rezaire, Navild Acosta, Bearcat, Miss Boogie, Ana Pi, and Julien Creuzet.
Sosa’s current projects involve Pleasure is Power, a multimedia conference around healing bass, sexual autonomy and oshunality, and Black Power Naps, a series of non mixed restful spaces around the world, in collaboration with Navild Acosta. They use their gender studies degree to pop their pussy even more severely than before.
Fannie Sosa currently lives and works between Europe and South-America.
.
.
.
.
.
Hey. I am a child of many borderlines. I am a gay, gender bending, femme afro descendant child of a single mother who succumbed to her depression at a young age. As you can see, I am light skinned and ethnically ambiguous, and although aware of the advantage that signifies when moving in the world, I am proudly Afro-Latinx.
I grew up in the whitest place in latin america, 90’s Argentina, where I was adopted. It was really disorienting. At age 18, I was awarded an academic achievement scholarship to come study in France, and I have managed ever since to scam my way around in Fortress Europe.
Being a generation zero migrant in Europe triggered a sci-fi like journey to remember who I am. I decoded several things that have always been present in my body and soul, like my ass for example, like displacement, like some level of resilient imagination that keeps opening spaces for me and my people. I put them to work in different forms of writing, sculpture, music, dance, performance, art direction, fashion, and education. As an afro-latinx, queer, migrant, self employed artist, my main goal with my work is to gather and share as much knowledge as possible around Black survival and thriving.
With my extensive movement education, youth work and academic background, I combine different formats and often tailor my practice according to my surroundings: I teach movement workshops, give talks, curate events employing Black/Indigenous/racialized artists, write texts and articles, and device musical/interactive sculptures aimed at reconnecting the audience with their pleasurable body. My work centers rest, laziness, idleness as a way of reclaiming otherwise hostile spaces.
From left to right: my brother Eurico, my brother Leley, my sister Aida, my brother Jah, my brother Mikey, my sister Lulu, and me.
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