“Silent Chorus” as installed at the Taubman Musem 2021/2022 during their triennial. It won the First Prize award (winning a solo exhibition at the Taubman Museum -it took place on March 3 - June 4 2023.: https://www.youtube.com/watch?v=ehwgy_n8vWQ
Silent Chorus at Taubman Museum 2022, and performance of Southern Ballet.
“Silent Chorus” 2018 installed inside a church’s memorial chapel.
“Severed” 2017 installation at Santa Fe Art Institute. I create this work in the year that president Trump proposed to create a wall between the United States and Mexico. I was referring to, among other things, to a historical event of 1559 in New Mexico during which, in a battle with the indigenous people, the colonizers severed a foot of each indigenous survivor to cause them humiliation. I was making reference to different historic moments of persecution, battles, wars, holocausts, forced migrations and displacement. I questioned the humiliations historic and of today, and the fences of all time that we all have to go through - be they social, cultural, of race or gender or identity.
“Breaking Bread” 2019 as installed during the exhibition Museum of Capitalism at Parsons School, NYC photo by Marc Tutti
“March-The People” (detail) 2017 Installations inspired by the People’s March. I created also a poem, “I the People” that relates to this work and that was presented at Santa Fe Art Institute’s SFAI140 residency focusing on Social Justice 2017.
Tag, A Memorial Poem (2013-2015) Frontal view of the installation in a created room. (Video projection and “object”) Em português: https://vimeo.com/745878727 This work installation has 16 photos objects and I wrote a memoir catalog to be shown with it.
Tag, a Memorial Poem (13 minutes video /and installation as shown in the photos on left and bottom) 2013-2015. I started this work in 2013 after the archives of the dictatorship of my country were made public on the internet and I researched them. I used photos, mine and public, to comment on personal/collective memory. I questioned the idea of memory and truth as constructed.
“Object-Orientalis’ (16 videos of 15 women, plus me, projected mapping into crates). I created this work in the summer of 2015 [July/15] while using the space of an abandoned warehouse. I created a self taught project-mapping to suit the idealized project of displaying the women moving inside the boxes. The women were volunteers. In this photo by Terry Browm, it is installed at the sculpture garden of the Virginia Museum of Fine Artes. I created it to be seen by everyone including children. The nude is very discrete and I recorded many grate conversations around the work. Here are some links I did and one also done in the second time it was installed in another public event https://www.facebook.com/watch/?v=1190446431088421 / https://www.facebook.com/eva.rocha.357/videos/1539549112826663
Object Orientalis, viewed in the still day light in the begging of the event. This project is very important too me. The lack of sponsorship has preventing me from showing it in other places, in reaching the right curator and international events. Very unfortunately for social artists, the art world is mostly a paid game and the entitlement to an artist can allow or prevent the artist participation in the Artis. But not all art is related to the ego game, the profiting game, the sponsored participation. This work is related to the trafficking of women. This subject is important to me and I hope this to be seen.
“Object-Orientalis”was/ is a comment on object-oriented philosophic aspects and its relation to the dehumanization and exclusion viewer -and the disconnected dialogue.
Wood art crates created for the project and filled with art packing materials. I can install it back in one day.
![“Object_Orientalis,”July 2015 {photo credit Dave Parish]](https://images.squarespace-cdn.com/content/v1/5db84544c12b3353a4b94931/1614891010541-PA458BMBCX5JPNHMGIQ1/Eva_Rocha.jpg)
“Object_Orientalis,”July 2015 {photo credit Dave Parish]
“Coro of womennequins” [#1#2#3 2013-2014]
“Coro of Womennequins” 16 sculptures, first ones were created in 2013, last in 2016. Detail of the installation as displayed at the Valentine Museum in 2017/18
“Ode to the Object” January 2015, a personal investigation of the humanistic dangers of seeing objects-in-its-own, disconnected from human issues and its extended consequences. A reaction against the impositions of the aesthetics of object-oriented philosophies. It was shown at the Taubman Museum in 2016
In, “I am not in the Business, I am the Business” while commenting in the issue of human trafficking where a person is seen as a commodity to be sold, I ask question the role of the artist,my own role, in landing my own vulnerability as the subject of the art. I am not the maker of the object, I am the object. // Installation “I am not in the business; I am the business” 4 self-recorded videos of me. A comment on the role of the artist in the art. It was shown at the Taubman Museum in 2016 (private collection of Pam and Bill Royal).
“Fodder::Beauty” 2013
“Fodder::Beauty” 2013 installed at ArtSpace
“I am not Yanomami” still in a collage-video installation part of a group of work related to the indigenous people of Brazil, of the Americas, July 2014. Projected on September. I heard about it: “I have no clue what this is about. it something about the jungle, we don’t care for the jungle”
…my grandmother in installation “I am not Yanomami”