In the performance entitled Blood and Noise, I sought to expose the power of my body to become a living archive of accumulated records of violence in memory, capable of unfolding in a loop of movements impregnated with that power, which, in turn, become signs with the simple being-there of the animated flesh. Institutional violence against bodies, which has been documented historically and around the world, has always made a strong impression on me because of its possibility of being silent, discrete, and because many times I have found myself in everyday, trivial situations in which I have felt silently violated without being able to defend myself, but without knowing clearly the origin of that violence (of how much violence and what kind of violence has my own body been a victim of?). I became convinced that I would never find the answer to that question, or I was no longer interested, and thus another question arose: Can one reflect on the hidden violence that a body can receive in its life, precisely through the contemplation of that body and its movements? When I decided that, based on that thought, I would perform an artistic action, the body with which I would rehearse to find answers would be my own. During the performance, my entire life flashes before my life in those moments, and the hidden violence that has been inflicted and that I myself have inflicted on my own being appears, by directing the displacement of my body towards the paths that lead to the ideals set by the social system in which I was born, which is oriented by models of sexuality, masculinity, success, well-being, community, among others, with which I have often disagreed or disagree with, or that I reject outright. In the action, my body (which at that precise moment becomes a mobile archive “furniture” made of flesh and bone) seeks to satiate another of the urgencies of this work: to reveal the delicate tension that arises when we prepare to catalogue a movement, action or reaction of a body against another body or against itself as violent, because the relationship between the force with which the movement is executed and the presence or absence of violence in the intentions that led to the execution of said movement with force is not always clear, so, based on extensive feedback from spectators of my body in action during the previous laboratories and the performance show, I feel that this tension does become evident to those who watch Blood and Noise, and according to the findings made during these actions, I believe that it is possible to reflect on violence by watching the movement of the body