Transoceanic artist, conceptual bitch, Afrofuturist lover.
His work moves between the fields of choreography, performing arts, and “cosmic perreo.” He explores what he defines as the 4P concept: the relationship between the political, poetic, personal, and pathetic. He has a special interest in an expanded scene and in practices and projects that activate decolonial thinking and perspective. He develops his career as a creator and performer between Tenerife / Madrid / Barcelona, maintaining a close relationship with the cultural sector of these three cities. He is co-founder of the collective Lamajara (Barcelona) and co-director between 2013 and 2020. He collaborates as a performer with choreographer Aleksander Georgiev (Bulgaria), André Uerba (Portugal) and with United Cowboys (Netherlands).
He is an associate artist at Art House (Eindhoven). In his most recent studies, 2019/2020, he completed the Master’s in Performing Practices and Visual Culture at UCLM and the Reina Sofía Museum (Madrid). He is currently on tour with his latest creation called: NO/MAS/SACRE been premiered at FAM Festival (Tenerife), Mercat de les Flors (Barcelona), FIBA (Buenos Aires), SPIDER Festival (Slovenia), and Le140 (Brussels). In September 2026, he will premiere Chapter 1: ARDER ÉPICA at Fira Tàrrega (Tarragona) a project supported by Graner and LAV-C.
RESIDENCY
In this new research, the artist opens a new question:
How does the stereotype of “hyperbolic virility” operate in the construction of the Black man?
Hyperbolic virility is a critical concept that describes the compulsive exaggeration of “masculine” attributes (strength, domination, sexual potency, insensitivity) as a social mandate, especially in contexts where masculinity is racialized. Ribeiro wishes to open this research for the creation of a stage piece for 5 to 7 performers. This new project stands as a performative ceremony where Afro-Diaspora men undertake the reverse journey to the mandate of masculinity.
The somatic practices for this new work function as decoding systems to map the pains inscribed in the flesh by gender mandates. Synchronized breathing, mantras transformed into ancestral laments, sweat mingling with shaving oil: everything converges in the creation of a liminal territory where masculinity, that violent fiction, can finally crumble.
These practices that Ribeiro incorporates into the research, Tantra Yoga, and breathwork emerge not as spiritual fads but as tools of bodily liberation that the artist, privately, began to practice. Here, these disciplines strip off their exotic aura to reveal themselves as radical technologies of reoccupation of the racialized body: a body historically kidnapped by colonial imaginaries of hypervirility. The performers’ voices deep, fractured, ancestral, enter to weave a dissonant score. Yoruba chants merge with spirituals harmonies, suppressed cries burst into eloquent silences.
