Érica Storer’s (1992) practice transits between long-duration performance, video, and installation as strategies for creating fictions and for straining the agreements between neoliberal ethics and contemporary cognitive labor. In her works, Storer tenses expectations of efficiency and productivity embedded within structures of labor and well-being.

She participated in residencies at the 9th Bolsa Pampulha, Belo Horizonte (2024); URRA, Buenos Aires (2023); and Fundação Armando Alvares Penteado, São Paulo (2023). She has presented solo exhibitions including Trabalho para deixar o tempo imprestável at the 33rd Programa de Exposições at Centro Cultural São Paulo (2024); Prometo Falhar, Ateliê 397, São Paulo (2024); and Como fazer um buraco em uma pedra com uma colher, Museu Paranaense, Curitiba (2021). Notable group exhibitions include 7° Prêmio EDP das Artes, Instituto Tomie Ohtake, São Paulo (2020); and 30° Prêmio MAJ, Sesc Ribeirão Preto and Consolação, São Paulo (2022). She has also participated in performance festivals such as Venice International Performance Art Week, Venice (2020); Semana de Performances da Bienal Internacional de Curitiba (2018); and Festival Cuerpas, Valparaíso, Chile (2018). Her works are part of the collections of Museu Paranaense, Museu de Arte da Universidade Federal do Paraná, Museu de Arte de Anápolis, and Casa do Olhar.

In Storer’s words, REACH (2024) “is a word-object that denotes an imperative and affirmative action—to arrive, to achieve, to obtain, to extend, to impact, to exert influence.”

It is a term that integrates the lexicon of her practice: installations, performances, and suspended objects that, through their physical dimension, constantly promote a dynamic of tension, suspension, collapse, and vertigo. In dialogue with the public, the verb directs an action: Reach!—which immediately encounters a provocation or impediment within its own realization.

The work challenges the viewer to find it: first, through the upward displacement of the gaze toward the top of the room; then, through the physical encounter that this movement requires. The choice of materials and edges also produces a vivid, vertiginous effect on the observer: when viewed from a distance, its lines and contours intersect, evoking a sensation of dizziness.