Performance, as an antidote to comfort—for both the spectator and the artist—tenses the space and keeps the audience on their toes. “The artist is the canvas” becomes manifest, and life dissolves into art, while art shares a moment with life. In contrast to the passivity to which the spirit has been reduced in the face of paintings, sculptures, inert, blank spaces, buildings called museums, or “too young” works, the figure of the present human appears, a wanderer, burdened with stimuli. In times of personal micro-ideologies, lobbyist social presences, and the comfort of “safe spaces,” a work hanging on a wall without the artist present no longer manages to move. Video performance, although mediated by the screen, proposes another form of presence. The value of performance today remains in the position assumed by the artist's body: when life itself becomes a stage, when the body is both medium and message, when the tension between work and spectator becomes inevitable. Since 2024, and following my association with fellow performer, colleague, and co-director of the Rulo Contemporary Art Center, Gina Montti, I began studying this discipline. Although I was reluctant at first—because it is an ephemeral language, a language of the body, enigmatic symbols, and few (or no) apparent analogies, difficult to conceptualize—I decided to expose myself to the unknown. By reading texts, viewing recordings, and witnessing performances in different art spaces, I began to understand the power that lies within the works/essays produced from this practice. Some key works that transformed my perception were the book "Terribando muros" (Breaking Down Walls) (2020) by Marina Abramović; the performance opera "Einstein on the Beach" by Philip Glass, Robert Wilson, and Lucinda Childs; and an event organized at our space in 2024: "Horizonte Performático" (Performance Horizon). Since then, I have been able to experience how performance generates—through the sole force of presence and the body—a tension with the spectator, whether for or against.