Three works by Pedro Neves Marques

Three works by Pedro Neves Marques

Pedro Neves Marques with HAUT, The Ovary (still), 2021.

Three works by Pedro Neves Marques
Screening and conversation

Admission starts at $5

July 14, 2022, 7pm
172 Classon Avenue
Brooklyn, NY 11205

Join us at e-flux Screening Room on Thursday, July 14 at 7pm for a screening of works by Pedro Neves Marques, featuring Meat is Not Murder (with HAUT, 2021), The Bite (2019), and The Ovary (with HAUT, 2021), and followed by a conversation with the artist. Neves Marques's films and video works are rooted in a genre of speculative auto-fiction and investigate a range of pressing issues from ecology and animal ethics to body and science politics, as well as preconceptions about what is deemed natural and unnatural.

In these three films, technology and intimacy, fantasy and reality, health and threat, the natural and the unnatural, the stable and the mutable, are constantly in and out of balance.  While The Bite’s pulpy environment and feeling of imminent (I’d say almost immanent) danger came as an answer to a moment of hopelessness and collapse, where retreat into one’s body seemed like the only refuge, the serene melancholia of Meat is Not Murder (a Voltaire-like anecdote) and The Ovary (a music video of sorts) make whatever science-fiction there is in them almost mundane. I see them as very meaty films, palpable and organic, not only thematically but also musically and visually. And while they are all films imbued with critiques, I hope they are also pierced by the possibility of better realms. 
—Pedro Neves Marques

Pedro Neves Marques with HAUT, Meat is Not Murder (2021, 5 minutes)
Courtesy of the artists and Galleria Umberto di Marino. Commissioned by the Liverpool Biennial with the support of Calouste Gulbenkian Foundation.

Meat is Not Murder is a short film narrating the dilemma faced by a vegan animal rights advocate when confronted with the possibility of eating lab-made meat. Both funny and gruesome, the film is imbued with an intimate and sensorial relation to images and music, creating an emotional narrative about the making of bodies, whether human or not, in science and preconceptions surrounding what is deemed natural and unnatural.

Pedro Neves Marques, The Bite (2019, 28 minutes)
Courtesy of the artist. Distributed by Portugal Film – Portu­guese Film Agency.

Between a house in the Brazilian Atlantic Forest and a genetically-modified mosquito factory near São Paulo, a polyamorous relationship struggles to survive a mosquito-borne epidemic spreading across Brazil. While in the factory millions of genetically-modified mosquitos are born daily inside test tubes in order to fight the virus, the power dynamics between the three lovers only intensifies. Drawing lines between psychological and bodily horrors, political and medical crises, the sterile heteronormativity of the laboratory and non-normative images of reproduction, The Bite is a film found somewhere between horror, science-fiction, and a queer drama. 

Pedro Neves Marques with HAUT, The Ovary (2021, 5 minutes)
Courtesy of the artists and Galleria Umberto di Marino. Commissioned by the Liverpool Biennial with the support of Calouste Gulbenkian Foundation.

The Ovary narrates the attempts of a gay couple to experience gestation through an ovarian implant in a cis man. Accompanied by a cover of Lana Del Rey's pop song “Let Me Love You Like A Woman,” The Ovary is a raw and haunting approach to the online fan fiction genre Mpreg (male pregnancy) and its tense, but also visionary, relation with gender, class, surrogacy, and homonormativity.

For more information, contact

Nature & Ecology, Film
Human - Nonhuman Relations, Video Art, Queer Art & Theory, Reproductive Justice, Health & Disease, Science Fiction

Pedro Neves Marques is a filmmaker, visual artist, and writer. Their work has been exhibited globally, having recently received a Special Prize at the Pinchuk Future Generation Art Prize (2021) and the Ammodo Tiger Short Award at the International Film Festival Rotterdam (2022), and being the Official Portuguese Representation at the 59th Venice Biennale. They had solo shows and film programs at the High Line, Castello di Rivoli, CA2M, CaixaForum, Perez Art Museum of Miami, Berardo Museum Collection, Gasworks, 1646, and e-flux, and participated in biennials such as Liverpool Biennial, Gwangju Biennale, Guangzhou Image Triennial, and New Museum Triennial, as well as in group shows and screenings at Kadist Foundation, Jeu de Paume, Guangdong Times Museum, Sculpture Center, Fondacíon Botín, Tate Modern Film, and Serpentine Galleries Cinema, among others. Their films have been screened in numerous film festivals, including the Toronto International Film Festival, New York Film Festival, International Film Festival Rotterdam, having received prizes at Go Short, Short Waves, Sicilia Queer Festival, MixBrasil, and MIEEF. As a writer, they write regularly on the topics of art, cinema, ecology, gender, and science fiction for magazines and books. They co-edited e-flux journal’s special issue Supercommunity for the 56th Venice Biennale (2015), and the anthologies YWY, Searching for a Character Between Future Worlds: Gender, Ecology, Science Fiction (Sternberg Press, 2021) and The Forest and The School (Archive Books, 2015). In 2020 they co-founded the poetry press Pântano Books, with whom they published their first poetry collection, Sex as Care and Other Viral Poems (2020) and translated the North American poet CAConrad into Portuguese, among others.

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