• 13 of september – 13 of october
 Love Song, 2024. Vidéo couleur, 30 min, en boucle.

A work on growing up with technology and the construction of gender and sexuality as an individual in Western society, Love Song is a film that investigates autobiographical narratives using autofiction, documentary, and essay. It’s framed by the makings of masculinity and its implications in made-up realities and narratives, flooded with explicit content and mediated exchanges.

Love Song was filmed between Munich and Dubai, connecting two points in space: the painting Der Arme Poet from 1839 by Carl Spitzweg, from the Neue Pinakothek Munich collection, made in the height of German Romanticism, and the artificial Love Lake in the desert of Dubai. Both painting and lake are used to explore the connections between Romanticism and Capitalism, and the binary systems they maintained, fostered by patriarchal discourses and religion, to question forms of production and the changes generated within Western societies.

 • 14 of october – 13 of november
 Monologue pour un Monstre, 2022. Vidéo couleur, 7 min 42 s, en boucle.

In Monologue for a Monster, a figure addresses the viewer in a personal and intimate tone, re-vealing the transformation they are going through. The monster, which assumes to have a non-binary identity, speaks of how the information they capture and manage ends up indelibly trans-forming who they are and how they relate to the world around them.

The references for the writing and making of the film come from the most obvious, such as Frankenstein by Mary Shelley, especially within a feminist reading, to A Hora do Diabo by Fer-nando Pessoa, and, more specifically, The Transformation of Silence into Language and Action by Audre Lorde. In Monologue for a Monster, as well as in other works, Barateiro is interested in the construction of the individual through an expanded subjectivity in the framework of neoliberal capitalism. The culture of entrepreneurship, which has defined the capitalist system in which we live, feeds the disguised idea that the individual is solely responsible for tracing his path, fighting against everything and everyone in the process. In this system, the community is made up of antagonism and conflict rather than of union or solidarity. The improvement (interior and exterior) of the human body and its technologies demonstrates the need for human agents to feel stronger, more effective, and more productive, feeding into a system of competition that benefits the abstract production of capital.

 • 14 of november – 13 of december
 My body, this paper, this fire, 2020. Vidéo couleur, 17 min, en boucle. Collection Frac Nouvelle-Aquitaine MÉCA.

My body, this paper, this fire departs from an event—the student demonstration of November 24, 1994, in front of the Portuguese Parliament in Lisbon, against university fees—as the starting point of a narrative that deals with the role of the individual and the collective. The work focuses on the idea of touch and care between people as a way of guiding the viewers through possible dystopian scenarios. A particular event of Portugal’s recent history, the demonstration was one of the most violent since the fall of the fascist regime in 1974.