Flavia Pinheiro lives and works in Recife- Brazil.

Her works involve the moving body in relation to different devices. She investigates the relations of strength and power of the hegemonic neoliberalism embodied by the intensive training for the end of the world and the limits of resistance in the creation of images, performance programs, installations, videos and urban interventions with one sole objective: Dance in order not to die! She was a substitute teacher in Dance Graduate Studies at UFPE, has a master's degree in Art History from UNSAM-Universidad de San Martin/Argentina, a postgraduate degree in Visual Arts-Combined Artistic Languages at UNA/Argentina, and a degree in Performing Arts at UFPE. In 2017 she began her training as a body therapist - BMC Body Mind Centering. She was awarded the Funarte Scholarship for Performing Arts Training in 2016/2017, studying at the Centre Nacional de la Danse CND / Pantin, in France. She participated in SESC's Palco Giratorio Circuit in 2018 with the performances “Como manter-se vivo?” (“How to stay alive?”) and “Contato Sonoro” (“Sound contact”). Some of her pseudo-scientic experiments are verticalized in body technologies. They deepen the planned obsolescence built on the basis of human behavior patterns in relation to improvised installations, analogue devices, failure, error and catastrophe. We emphasize: Diafragma: dispositivo versão Beta(2015), Diafragma: Ensaio sobre a Impermanência (2016), Enchente(2016) e Como manter-se vivo? (2017). She is currently investigating bacterias in vitro related to the unhealthy context of Recife: a series of images and performances procedures in the symbolic ght against antibiotics. She also performs the “Performance Parlante”, “Antilope”, along with the sound artist Yuri Bruscky. She develops a scenic study called “Ruinas de um futuro em desaparecimento", which almost debuted but, due to the pandemic, was put off until after the end of the world. Her exhibition "Abismos de um corpo que falha”, awarded by the Joaquim Nabuco FUNDAJ Foundation's Artistic Residency edict, collapsed. The ar tist insists on the dystopia of hacking existence.