| Summary: | This research sets out to understand the connections between historical, political and social stimuli and their transposition/translation into audio-visual experimentation. Meanwhile, a number of aesthetic manifestations are understood as extensions of the audio-visual concept, including that of performance art. It is based on theoretical premises which confine the use of the body to a mediating role in the critical construction of the arts. It presents the concepts of training, corporality and presentification, derived from the stage arts, as the proposals of an artistic body which is placed in other forms of language. The paper bespeaks of the need for explicit artistic involvement in its contemporary political period, based upon the concept of banality of evil. It promotes a reflexion on how images of war are, and could be, used to corroborate a vertical understanding of conflict. In a second stage, it analyses the particularities of events records, in an attempt to outline the definitions for documentary records, concerned with accuracy in the reports of the event, and performative image, a document distant from the original event despite resulting from it. In this second part, it analyses distinctive elements in videoperformance, photoperformance and writing performance in selected performances.Finally, the paper goes through the author’s work triggered by torture reports from Brazil’s dictatorship periods throughout history, overlapped with political instability from 2013 to 2017 added to territory displacement, and the history of this new Portuguese space. These elements reverberate on seventeen Acts mediated by the body in art cooperations and comprising video, photography, drawing, performance, urban intervention, publishing and object building
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