M0nster.L4b (ES) 2025-2026
M0nster.L4b is an affective meeting of knowledge and practices that aims to expand the politics of the performative and the image to give new possibilities of action to the discipline of drag cross-dressing. The two artists, Lu Chieregati and Feña Celedón, are interested in crossing dissident experiences with ecology, migration, decoloniality and transgenderism. They link choreographic studies to the artistic phenomenon of drag, transvestite and its hybrid identities. They are researching queer methodologies and ways to expand drag and choreographic practice through the creation of artistic works and ongoing research. The collective has existed for two years and has been able to establish links and relationships with contexts beyond Barcelona, such as Portugal, Brazil and Chile.
Parcitipating artists
Lu Chieregati (ES)
Lu Chieregati (they/them) is a researcher, choreographer, performer, and dramaturge. They are currently pursuing a Master’s in Choreography and Performance at the University of Giessen and hold a degree in Dance and Movement from Anhembi Morumbi University (Brazil) and a Master’s in Performing Arts and Visual Culture from the University of Castilla-La Mancha in collaboration with the Reina Sofía Museum (Madrid). Their performative and choreographic work centers on fiction and imagination. They develop their processes by inventing practices that activate narratives parallel to those of techno-heroic capitalist time.
Feña Celedón (ES)
Feña Celedón (she/her) is a Chilean multidisciplinary travesti artist and activist for sexual and gender dissidence. Her work focuses on gender performance and art direction. In the field of performance, Feña explores the limits of gender performativity through transformism and stage practices related to Drag. Their goal is to expand the politics of performativity and image, creating new possibilities for drag practice. They master the tools of this technology, including makeup, hairstyling, costume design, and tailoring. Additionally, as a workshop facilitator, they develop didactic and pedagogical methodologies to decolonize gender through Drag practice. As an art director, Feña works on artistic production and costume design for audiovisual projects related to the LGBTQ+ community. Feña holds a degree in Theater Arts from Universidad Finis Terrae and is a certified actress, with postgraduate studies in theater pedagogy and art at Universidad de las Américas (Santiago, Chile).
Selva Gonzalez Vildoso
Selva González Vildoso is a transdisciplinary artist, producer, curator, cultural manager and communitary activist from Iquique, Chile, currently based between France and Spain. Her work explores creative audiovisual storytelling, performance, science and community organization. Co-founder of Nanai Studio, award-winning XR company dedicated to creating immersive interactive experiences, and founder of Maltrato Films, production company focused on young political voices in Chile. Producer of FIVIA, Festival of Video and Artificial Intelligence in Marseille, France, and member of MAIX, Movement of Artists and Researchers in XR from Latinoamerica, orientated to funding the Latin American XR scene, while generating industry contexts at the intersection of art, science, and technology.
Taken residency at
Nau Ivanow
Nau Ivanow is a space of welcome, accompaniment, research and innovation; a haven where companies will find the warmth needed to work unhurriedly and in good conditions. Residencies are the main focus of what we do. Our aim is to provide decent working conditions, always accompanying the artists and providing them with the resources they need. Nau Ivanow’s projects are underpinned by three major working axes: creation, accompaniment and work with the territory. And all of them with one common denominator: internationalization, which permeates each and every one of our projects.
HELLERAU – European Center for the Arts
HELLERAU acts as an interdisciplinary and international centre for dance, performance, music, theatre and media arts. It offers spaces for productions, festivals, concerts performances, exhibitions and discourse, cooperates with various regional cultural partners and is firmly connected internationally. An important part of HELLERAU is a residency program, which offers opportunities for artistic research, networks, production and encounters throughout the whole year.
UP
The purpose of UP is to develop and upskill the independent performing arts throughout Denmark. We define the free and independent performing arts as individuals, collectives and companies who work professionally with performance and primarily for and with independent performance groups, project supported companies, and lesser established theatres. Often without permanent access to a stage or a venue.
Who is M0nster.L4b?
“We are a creative and affective encounter between Lu Chieregati and Norma Pérez. We began working together in 2022, when we met and fell in love. Lu comes from the field of experimental dance and choreography; Norma is an actress and drag performer. Lu is from Brazil, and Norma is from Santiago, Chile. We are both trans people and Latin American migrants, and that experience informs and enriches our way of creating and relating. For Moving Identities, Selva González joins us as a producer, friend, and advisor. In this context, we become a powerful trio, with the energy and desire to continue inventing worlds together. We explore intersections of visual arts, choreography, performance, and drag technologies from a transfeminist and situated perspective. We understand drag not only as spectacle, but as an embodied methodology and a critical strategy for collecting, assembling, and mounting displaced materials, bodies, and histories”
What motivated you to apply to Moving Identities?
“We saw it as an opportunity to expand the communities we connect with. We feel an urgency of traveling to other territories, experimenting with the methodologies we are developing in dialogue with other realities and communities, and thus generating momentum to continue researching in the fields that interest us. Expanding the project to a European scale, with the support of the institutions and stakeholders involved, is a very valuable opportunity for us. We are eager to start activating research with the places and their people. This is something we’re very excited about right now”
Photo: Mila Ercoli
What are you interested in researching during your residencies?
“We are interested in constructing monstrous counter-narratives through a process that intertwines drag performance, ecology, and landscape. We want to explore how drag, typically associated with nightlife and queer urban spaces, can expand into other territories: forests, abandoned ruins, or devastated urban landscapes. This research seeks to activate drag as a situated practice, capable of engaging with the materials, histories, and ecosystems of each location. We conceive the project as a living laboratory, where we can experiment with ways of destabilizing normative perspectives and hegemonic narratives. Connecting with local queer and trans communities will be essential to generating a drag-choreographic exchange, where practices can circulate, transform, and expand. We think about drag as a political, aesthetic, and ecological tool: a means to reimagine landscapes, produce narratives from the body, and a way to question the discourses that impose who can be and belong”
Photo: Mila Ercoli
What motivates or excites you most about being part of the Moving Identities project?
“Collaboration across different cultural and political contexts broadens the scope and depth of our research. Connecting with diverse artist residencies, festivals, and research centres across the continent allows us to develop our practice within multiple frameworks, from contemporary performance to activist art. Likewise, the intersection of distinct histories of gender, colonialism, and migration in Europe offers fertile ground for our exploration of counter-narratives and dissident aesthetics. We are particularly excited and enthusiastic about fostering connections with dissident artistic networks in different cities, building a drag-choreographic dialogue that transcends national borders”
Which elements of the project (such as sustainable mobility, mentoring, or international exchange) do you find most valuable for your goals?
“Working within institutions and venues that support artistic inquiry allows us to deepen our exploration of drag as a performative technology and as a method for challenging hegemonic narratives. Beyond institutions, we are drawn to the urban and natural landscapes that surround them. Whether abandoned industrial spaces, forests, coastal environments, or dense urban centres, these places provide us with materials – both physical and conceptual – for our drag creations. Each place possesses its own waste, histories, and ecosystems that feed the aesthetics and politics of the monstrous counter-narratives we develop, and being able to experiment in a variety of sites will greatly contribute to the project.
And connecting with local communities – particularly queer, trans, and activist circles – is an opportunity to exchange practices, learn from other experiences of resistance and reinvention, and expand the ways drag can function as an ecological and political force”
What does it mean to you to be able to collaborate with a transnational network like Moving Identities?
“It allows us to think of artistic practice not only as a localized gesture, but as part of a constantly changing ecosystem, crisscrossed by multiple languages, memories, and methodologies. We understand this network as a space of resonance in which migrants, dissidents, queer people, and experimental groups can engage with different cultural contexts, generating new forms of collective imagination. For us, Moving Identities, as the program’s very name suggests, is an invitation to think of identity as something always in motion, a field open to reinvention and the construction of possible futures together without disregarding the differences of privilege, but understanding in practice how our queer bodies can find survival strategies through art”
