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_cru___
Cru Encarnação
~ lies, illusion, deception ~
deconstructed 19th-century-type-of-stage-magic-performance-masculinity
“Ao Vivo”, 2026
digital print and hand stitching on synthetic silk, wood
70 x 100 cm
Beyond excited ( !!!! ) to have a piece exhibited at @obelus.obelus for the group show “Dwarf Fruit”, curated by @nemecees and featuring other works by @rare_earth_mineral @psxcaete @yanne.thhh @a_bridge_ @jordandealart 🩵
Open until mid July!
Thank you @nemecees for the invite, guidance and support 🌱
“Ao Vivo”, 2026
digital print and hand stitching on synthetic silk, wood
70 x 100 cm
Beyond excited ( !!!! ) to have a piece exhibited at @obelus.obelus for the group show “Dwarf Fruit”, curated by @nemecees and featuring other works by @rare_earth_mineral @psxcaete @yanne.thhh @a_bridge_ @jordandealart 🩵
Open until mid July!
Thank you @nemecees for the invite, guidance and support 🌱
“Ao Vivo”, 2026
digital print and hand stitching on synthetic silk, wood
70 x 100 cm
Beyond excited ( !!!! ) to have a piece exhibited at @obelus.obelus for the group show “Dwarf Fruit”, curated by @nemecees and featuring other works by @rare_earth_mineral @psxcaete @yanne.thhh @a_bridge_ @jordandealart 🩵
Open until mid July!
Thank you @nemecees for the invite, guidance and support 🌱
“Ao Vivo”, 2026
digital print and hand stitching on synthetic silk, wood
70 x 100 cm
Beyond excited ( !!!! ) to have a piece exhibited at @obelus.obelus for the group show “Dwarf Fruit”, curated by @nemecees and featuring other works by @rare_earth_mineral @psxcaete @yanne.thhh @a_bridge_ @jordandealart 🩵
Open until mid July!
Thank you @nemecees for the invite, guidance and support 🌱
“Ao Vivo”, 2026
digital print and hand stitching on synthetic silk, wood
70 x 100 cm
Beyond excited ( !!!! ) to have a piece exhibited at @obelus.obelus for the group show “Dwarf Fruit”, curated by @nemecees and featuring other works by @rare_earth_mineral @psxcaete @yanne.thhh @a_bridge_ @jordandealart 🩵
Open until mid July!
Thank you @nemecees for the invite, guidance and support 🌱
“Ao Vivo”, 2026
digital print and hand stitching on synthetic silk, wood
70 x 100 cm
Beyond excited ( !!!! ) to have a piece exhibited at @obelus.obelus for the group show “Dwarf Fruit”, curated by @nemecees and featuring other works by @rare_earth_mineral @psxcaete @yanne.thhh @a_bridge_ @jordandealart 🩵
Open until mid July!
Thank you @nemecees for the invite, guidance and support 🌱
#DDD2026 🩶 𝗗𝗜𝗔 𝟭𝟮
Xana Novais
𝓗ow to Kill...For the Sake of Dying
10 anos ∞ 10 years
𝟴 — 𝟭𝟵.𝟬𝟰.𝟮𝟬𝟮𝟲
📹 a-tundra (@a_tundra_)
COOL STORY BRO
Sound on for best reaction ever at @alo.nas event
I’m still learning 👀
(+ Happy Easter 🥚)
COOL STORY BRO
Sound on for best reaction ever at @alo.nas event
I’m still learning 👀
(+ Happy Easter 🥚)
COOL STORY BRO
Sound on for best reaction ever at @alo.nas event
I’m still learning 👀
(+ Happy Easter 🥚)
It is no mere coincidence that Criss Angel walked on water in 2008, the same year that the financial crisis broke out. It is also no coincidence that the so called Golden Years of Stage Magic were happening in times of crisis, rising fascism and rampant and unpredictable technological development (fin-de-siècle). It is no mere accident that David Copperfield is in the Epstein files, just like it is no mere accident that the magician John Mulholland was hired by the CIA in 1953 to design deceptions and illusions at the MK-Ultra research program on mind control, just like it is no mere accident that Harry Houdini was hired in 1905 by a United States Prison to test the security of a death row.
The way Stage Magic is linked to power and the weaponization of epistemic helplessness is old.
Power is very much about how to engineer the right illusion. And above all, about destroying the mechanisms that allow us to distinguish truth from lie. That’s why magicians are so fundamental and dangerous, even though they look like funny losers. Plus, they step in in times of crisis, when various belief systems have fallen apart and when power becomes so related to perception and truth.
“Pure illusion is an illusion, because the matter speaks of all the effort, violence and often beauty involved in maintaining a trick”.
The lightness of a trick carries a heavy material burden. The quickness of a trick leaves temporal traces that extend much much further from the moment it is perceived.
The magic trick reveals that same capitalist materiality, where value is falsely measured from the surface instead of dissected from its material process.
Sometimes I wonder if people understand how many layers of violence stage magic’s aesthetics carry, how much hides behind the seemingly funny and goofy things its performers show us. Because in the end, it is the most accurate presentation of masculinity’s obsession and compulsion with control and with lying. Nothing in Stage Magic is innocent. And for this reason it has always inspired power-enthusiasts in seeking more, in using its mechanisms of wonder in the pursuit of power.
It is no mere coincidence that Criss Angel walked on water in 2008, the same year that the financial crisis broke out. It is also no coincidence that the so called Golden Years of Stage Magic were happening in times of crisis, rising fascism and rampant and unpredictable technological development (fin-de-siècle). It is no mere accident that David Copperfield is in the Epstein files, just like it is no mere accident that the magician John Mulholland was hired by the CIA in 1953 to design deceptions and illusions at the MK-Ultra research program on mind control, just like it is no mere accident that Harry Houdini was hired in 1905 by a United States Prison to test the security of a death row.
The way Stage Magic is linked to power and the weaponization of epistemic helplessness is old.
Power is very much about how to engineer the right illusion. And above all, about destroying the mechanisms that allow us to distinguish truth from lie. That’s why magicians are so fundamental and dangerous, even though they look like funny losers. Plus, they step in in times of crisis, when various belief systems have fallen apart and when power becomes so related to perception and truth.
“Pure illusion is an illusion, because the matter speaks of all the effort, violence and often beauty involved in maintaining a trick”.
The lightness of a trick carries a heavy material burden. The quickness of a trick leaves temporal traces that extend much much further from the moment it is perceived.
The magic trick reveals that same capitalist materiality, where value is falsely measured from the surface instead of dissected from its material process.
Sometimes I wonder if people understand how many layers of violence stage magic’s aesthetics carry, how much hides behind the seemingly funny and goofy things its performers show us. Because in the end, it is the most accurate presentation of masculinity’s obsession and compulsion with control and with lying. Nothing in Stage Magic is innocent. And for this reason it has always inspired power-enthusiasts in seeking more, in using its mechanisms of wonder in the pursuit of power.
It is no mere coincidence that Criss Angel walked on water in 2008, the same year that the financial crisis broke out. It is also no coincidence that the so called Golden Years of Stage Magic were happening in times of crisis, rising fascism and rampant and unpredictable technological development (fin-de-siècle). It is no mere accident that David Copperfield is in the Epstein files, just like it is no mere accident that the magician John Mulholland was hired by the CIA in 1953 to design deceptions and illusions at the MK-Ultra research program on mind control, just like it is no mere accident that Harry Houdini was hired in 1905 by a United States Prison to test the security of a death row.
The way Stage Magic is linked to power and the weaponization of epistemic helplessness is old.
Power is very much about how to engineer the right illusion. And above all, about destroying the mechanisms that allow us to distinguish truth from lie. That’s why magicians are so fundamental and dangerous, even though they look like funny losers. Plus, they step in in times of crisis, when various belief systems have fallen apart and when power becomes so related to perception and truth.
“Pure illusion is an illusion, because the matter speaks of all the effort, violence and often beauty involved in maintaining a trick”.
The lightness of a trick carries a heavy material burden. The quickness of a trick leaves temporal traces that extend much much further from the moment it is perceived.
The magic trick reveals that same capitalist materiality, where value is falsely measured from the surface instead of dissected from its material process.
Sometimes I wonder if people understand how many layers of violence stage magic’s aesthetics carry, how much hides behind the seemingly funny and goofy things its performers show us. Because in the end, it is the most accurate presentation of masculinity’s obsession and compulsion with control and with lying. Nothing in Stage Magic is innocent. And for this reason it has always inspired power-enthusiasts in seeking more, in using its mechanisms of wonder in the pursuit of power.
It is no mere coincidence that Criss Angel walked on water in 2008, the same year that the financial crisis broke out. It is also no coincidence that the so called Golden Years of Stage Magic were happening in times of crisis, rising fascism and rampant and unpredictable technological development (fin-de-siècle). It is no mere accident that David Copperfield is in the Epstein files, just like it is no mere accident that the magician John Mulholland was hired by the CIA in 1953 to design deceptions and illusions at the MK-Ultra research program on mind control, just like it is no mere accident that Harry Houdini was hired in 1905 by a United States Prison to test the security of a death row.
The way Stage Magic is linked to power and the weaponization of epistemic helplessness is old.
Power is very much about how to engineer the right illusion. And above all, about destroying the mechanisms that allow us to distinguish truth from lie. That’s why magicians are so fundamental and dangerous, even though they look like funny losers. Plus, they step in in times of crisis, when various belief systems have fallen apart and when power becomes so related to perception and truth.
“Pure illusion is an illusion, because the matter speaks of all the effort, violence and often beauty involved in maintaining a trick”.
The lightness of a trick carries a heavy material burden. The quickness of a trick leaves temporal traces that extend much much further from the moment it is perceived.
The magic trick reveals that same capitalist materiality, where value is falsely measured from the surface instead of dissected from its material process.
Sometimes I wonder if people understand how many layers of violence stage magic’s aesthetics carry, how much hides behind the seemingly funny and goofy things its performers show us. Because in the end, it is the most accurate presentation of masculinity’s obsession and compulsion with control and with lying. Nothing in Stage Magic is innocent. And for this reason it has always inspired power-enthusiasts in seeking more, in using its mechanisms of wonder in the pursuit of power.
It is no mere coincidence that Criss Angel walked on water in 2008, the same year that the financial crisis broke out. It is also no coincidence that the so called Golden Years of Stage Magic were happening in times of crisis, rising fascism and rampant and unpredictable technological development (fin-de-siècle). It is no mere accident that David Copperfield is in the Epstein files, just like it is no mere accident that the magician John Mulholland was hired by the CIA in 1953 to design deceptions and illusions at the MK-Ultra research program on mind control, just like it is no mere accident that Harry Houdini was hired in 1905 by a United States Prison to test the security of a death row.
The way Stage Magic is linked to power and the weaponization of epistemic helplessness is old.
Power is very much about how to engineer the right illusion. And above all, about destroying the mechanisms that allow us to distinguish truth from lie. That’s why magicians are so fundamental and dangerous, even though they look like funny losers. Plus, they step in in times of crisis, when various belief systems have fallen apart and when power becomes so related to perception and truth.
“Pure illusion is an illusion, because the matter speaks of all the effort, violence and often beauty involved in maintaining a trick”.
The lightness of a trick carries a heavy material burden. The quickness of a trick leaves temporal traces that extend much much further from the moment it is perceived.
The magic trick reveals that same capitalist materiality, where value is falsely measured from the surface instead of dissected from its material process.
Sometimes I wonder if people understand how many layers of violence stage magic’s aesthetics carry, how much hides behind the seemingly funny and goofy things its performers show us. Because in the end, it is the most accurate presentation of masculinity’s obsession and compulsion with control and with lying. Nothing in Stage Magic is innocent. And for this reason it has always inspired power-enthusiasts in seeking more, in using its mechanisms of wonder in the pursuit of power.
It is no mere coincidence that Criss Angel walked on water in 2008, the same year that the financial crisis broke out. It is also no coincidence that the so called Golden Years of Stage Magic were happening in times of crisis, rising fascism and rampant and unpredictable technological development (fin-de-siècle). It is no mere accident that David Copperfield is in the Epstein files, just like it is no mere accident that the magician John Mulholland was hired by the CIA in 1953 to design deceptions and illusions at the MK-Ultra research program on mind control, just like it is no mere accident that Harry Houdini was hired in 1905 by a United States Prison to test the security of a death row.
The way Stage Magic is linked to power and the weaponization of epistemic helplessness is old.
Power is very much about how to engineer the right illusion. And above all, about destroying the mechanisms that allow us to distinguish truth from lie. That’s why magicians are so fundamental and dangerous, even though they look like funny losers. Plus, they step in in times of crisis, when various belief systems have fallen apart and when power becomes so related to perception and truth.
“Pure illusion is an illusion, because the matter speaks of all the effort, violence and often beauty involved in maintaining a trick”.
The lightness of a trick carries a heavy material burden. The quickness of a trick leaves temporal traces that extend much much further from the moment it is perceived.
The magic trick reveals that same capitalist materiality, where value is falsely measured from the surface instead of dissected from its material process.
Sometimes I wonder if people understand how many layers of violence stage magic’s aesthetics carry, how much hides behind the seemingly funny and goofy things its performers show us. Because in the end, it is the most accurate presentation of masculinity’s obsession and compulsion with control and with lying. Nothing in Stage Magic is innocent. And for this reason it has always inspired power-enthusiasts in seeking more, in using its mechanisms of wonder in the pursuit of power.
It is no mere coincidence that Criss Angel walked on water in 2008, the same year that the financial crisis broke out. It is also no coincidence that the so called Golden Years of Stage Magic were happening in times of crisis, rising fascism and rampant and unpredictable technological development (fin-de-siècle). It is no mere accident that David Copperfield is in the Epstein files, just like it is no mere accident that the magician John Mulholland was hired by the CIA in 1953 to design deceptions and illusions at the MK-Ultra research program on mind control, just like it is no mere accident that Harry Houdini was hired in 1905 by a United States Prison to test the security of a death row.
The way Stage Magic is linked to power and the weaponization of epistemic helplessness is old.
Power is very much about how to engineer the right illusion. And above all, about destroying the mechanisms that allow us to distinguish truth from lie. That’s why magicians are so fundamental and dangerous, even though they look like funny losers. Plus, they step in in times of crisis, when various belief systems have fallen apart and when power becomes so related to perception and truth.
“Pure illusion is an illusion, because the matter speaks of all the effort, violence and often beauty involved in maintaining a trick”.
The lightness of a trick carries a heavy material burden. The quickness of a trick leaves temporal traces that extend much much further from the moment it is perceived.
The magic trick reveals that same capitalist materiality, where value is falsely measured from the surface instead of dissected from its material process.
Sometimes I wonder if people understand how many layers of violence stage magic’s aesthetics carry, how much hides behind the seemingly funny and goofy things its performers show us. Because in the end, it is the most accurate presentation of masculinity’s obsession and compulsion with control and with lying. Nothing in Stage Magic is innocent. And for this reason it has always inspired power-enthusiasts in seeking more, in using its mechanisms of wonder in the pursuit of power.
It is no mere coincidence that Criss Angel walked on water in 2008, the same year that the financial crisis broke out. It is also no coincidence that the so called Golden Years of Stage Magic were happening in times of crisis, rising fascism and rampant and unpredictable technological development (fin-de-siècle). It is no mere accident that David Copperfield is in the Epstein files, just like it is no mere accident that the magician John Mulholland was hired by the CIA in 1953 to design deceptions and illusions at the MK-Ultra research program on mind control, just like it is no mere accident that Harry Houdini was hired in 1905 by a United States Prison to test the security of a death row.
The way Stage Magic is linked to power and the weaponization of epistemic helplessness is old.
Power is very much about how to engineer the right illusion. And above all, about destroying the mechanisms that allow us to distinguish truth from lie. That’s why magicians are so fundamental and dangerous, even though they look like funny losers. Plus, they step in in times of crisis, when various belief systems have fallen apart and when power becomes so related to perception and truth.
“Pure illusion is an illusion, because the matter speaks of all the effort, violence and often beauty involved in maintaining a trick”.
The lightness of a trick carries a heavy material burden. The quickness of a trick leaves temporal traces that extend much much further from the moment it is perceived.
The magic trick reveals that same capitalist materiality, where value is falsely measured from the surface instead of dissected from its material process.
Sometimes I wonder if people understand how many layers of violence stage magic’s aesthetics carry, how much hides behind the seemingly funny and goofy things its performers show us. Because in the end, it is the most accurate presentation of masculinity’s obsession and compulsion with control and with lying. Nothing in Stage Magic is innocent. And for this reason it has always inspired power-enthusiasts in seeking more, in using its mechanisms of wonder in the pursuit of power.
some really beautiful pics of @ula_liagaite ‘s show in Zurich last December by @prostoalexandraa 🫧
“Alone Together Somewhere Hot”
thank you to the beautiful team 💘
@ula_liagaite @antto_logy @postmoderntranny @some.magical.realism @eglesvedkauskaite @noe.arnold @shun.lighting @hannah.heartbreak
some really beautiful pics of @ula_liagaite ‘s show in Zurich last December by @prostoalexandraa 🫧
“Alone Together Somewhere Hot”
thank you to the beautiful team 💘
@ula_liagaite @antto_logy @postmoderntranny @some.magical.realism @eglesvedkauskaite @noe.arnold @shun.lighting @hannah.heartbreak
some really beautiful pics of @ula_liagaite ‘s show in Zurich last December by @prostoalexandraa 🫧
“Alone Together Somewhere Hot”
thank you to the beautiful team 💘
@ula_liagaite @antto_logy @postmoderntranny @some.magical.realism @eglesvedkauskaite @noe.arnold @shun.lighting @hannah.heartbreak
some really beautiful pics of @ula_liagaite ‘s show in Zurich last December by @prostoalexandraa 🫧
“Alone Together Somewhere Hot”
thank you to the beautiful team 💘
@ula_liagaite @antto_logy @postmoderntranny @some.magical.realism @eglesvedkauskaite @noe.arnold @shun.lighting @hannah.heartbreak
some really beautiful pics of @ula_liagaite ‘s show in Zurich last December by @prostoalexandraa 🫧
“Alone Together Somewhere Hot”
thank you to the beautiful team 💘
@ula_liagaite @antto_logy @postmoderntranny @some.magical.realism @eglesvedkauskaite @noe.arnold @shun.lighting @hannah.heartbreak
some really beautiful pics of @ula_liagaite ‘s show in Zurich last December by @prostoalexandraa 🫧
“Alone Together Somewhere Hot”
thank you to the beautiful team 💘
@ula_liagaite @antto_logy @postmoderntranny @some.magical.realism @eglesvedkauskaite @noe.arnold @shun.lighting @hannah.heartbreak
some really beautiful pics of @ula_liagaite ‘s show in Zurich last December by @prostoalexandraa 🫧
“Alone Together Somewhere Hot”
thank you to the beautiful team 💘
@ula_liagaite @antto_logy @postmoderntranny @some.magical.realism @eglesvedkauskaite @noe.arnold @shun.lighting @hannah.heartbreak
next to the medusa for @versace spring summer 2026 ✨
photographed by @tyronelebon & creative direction by @dario___vitale ✨
next to the medusa for @versace spring summer 2026 ✨
photographed by @tyronelebon & creative direction by @dario___vitale ✨
Farewell my sweet Pinocchio… for now… 🥹
I am finally done with this damn text & life chapter 🤧
Thank you to everyone who gave me support and motivation for this 🩵 It has been 1 year of reading and writing and 2,5 years since that epiphany in the bookstore about how obviously transsexual Pinocchio is 👀 crazy ride…
Last pic is a painting that succinctly portrays the research transition my work might be taking from this point on lol
I’ll miss you Pinocchio, but I’m sure we’ll see each other again…
Farewell my sweet Pinocchio… for now… 🥹
I am finally done with this damn text & life chapter 🤧
Thank you to everyone who gave me support and motivation for this 🩵 It has been 1 year of reading and writing and 2,5 years since that epiphany in the bookstore about how obviously transsexual Pinocchio is 👀 crazy ride…
Last pic is a painting that succinctly portrays the research transition my work might be taking from this point on lol
I’ll miss you Pinocchio, but I’m sure we’ll see each other again…
Farewell my sweet Pinocchio… for now… 🥹
I am finally done with this damn text & life chapter 🤧
Thank you to everyone who gave me support and motivation for this 🩵 It has been 1 year of reading and writing and 2,5 years since that epiphany in the bookstore about how obviously transsexual Pinocchio is 👀 crazy ride…
Last pic is a painting that succinctly portrays the research transition my work might be taking from this point on lol
I’ll miss you Pinocchio, but I’m sure we’ll see each other again…
Farewell my sweet Pinocchio… for now… 🥹
I am finally done with this damn text & life chapter 🤧
Thank you to everyone who gave me support and motivation for this 🩵 It has been 1 year of reading and writing and 2,5 years since that epiphany in the bookstore about how obviously transsexual Pinocchio is 👀 crazy ride…
Last pic is a painting that succinctly portrays the research transition my work might be taking from this point on lol
I’ll miss you Pinocchio, but I’m sure we’ll see each other again…
Farewell my sweet Pinocchio… for now… 🥹
I am finally done with this damn text & life chapter 🤧
Thank you to everyone who gave me support and motivation for this 🩵 It has been 1 year of reading and writing and 2,5 years since that epiphany in the bookstore about how obviously transsexual Pinocchio is 👀 crazy ride…
Last pic is a painting that succinctly portrays the research transition my work might be taking from this point on lol
I’ll miss you Pinocchio, but I’m sure we’ll see each other again…
Farewell my sweet Pinocchio… for now… 🥹
I am finally done with this damn text & life chapter 🤧
Thank you to everyone who gave me support and motivation for this 🩵 It has been 1 year of reading and writing and 2,5 years since that epiphany in the bookstore about how obviously transsexual Pinocchio is 👀 crazy ride…
Last pic is a painting that succinctly portrays the research transition my work might be taking from this point on lol
I’ll miss you Pinocchio, but I’m sure we’ll see each other again…
Farewell my sweet Pinocchio… for now… 🥹
I am finally done with this damn text & life chapter 🤧
Thank you to everyone who gave me support and motivation for this 🩵 It has been 1 year of reading and writing and 2,5 years since that epiphany in the bookstore about how obviously transsexual Pinocchio is 👀 crazy ride…
Last pic is a painting that succinctly portrays the research transition my work might be taking from this point on lol
I’ll miss you Pinocchio, but I’m sure we’ll see each other again…
Farewell my sweet Pinocchio… for now… 🥹
I am finally done with this damn text & life chapter 🤧
Thank you to everyone who gave me support and motivation for this 🩵 It has been 1 year of reading and writing and 2,5 years since that epiphany in the bookstore about how obviously transsexual Pinocchio is 👀 crazy ride…
Last pic is a painting that succinctly portrays the research transition my work might be taking from this point on lol
I’ll miss you Pinocchio, but I’m sure we’ll see each other again…
Farewell my sweet Pinocchio… for now… 🥹
I am finally done with this damn text & life chapter 🤧
Thank you to everyone who gave me support and motivation for this 🩵 It has been 1 year of reading and writing and 2,5 years since that epiphany in the bookstore about how obviously transsexual Pinocchio is 👀 crazy ride…
Last pic is a painting that succinctly portrays the research transition my work might be taking from this point on lol
I’ll miss you Pinocchio, but I’m sure we’ll see each other again…
Adeus Tesmofórias 💫
de @odetetheslayer
com
@tita.maravilha
@akila_a.k.a_putadasilva
@maliaimaan
@oralityovermorality
@mariojbcoelho
@beeebarros
@prudepanties
@sarafumaca_
& me
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