Working across video, installation, performance, and publication, Carlos Motta engages the body and sexual dissidence as sites of experimentation and political contestation. His practice documents the social conditions of queer, trans, and ethnic minority communities, proposing counter-histories that resist normative and Eurocentric frameworks. Through self-representation and collaborations, Motta stages art as both archive and intervention: a place where silenced narratives resurface and collective imaginaries take shape. From early self-portraits to recent performances and installations, Motta’s practice traces the archive as both wound and reservoir, interrogating its violences, its silences, and its latent desires. His sustained engagement with colonial histories renders visible their afterlives in the fragility of bodies and the struggles of communities. Central to this work is an ethics of care and collaboration, where the collective body emerges as both subject and strategy. Proposing alternatives to hegemonic accounts of history, religion, and democracy, Motta stages art as an act of resistance and reform. His projects reconfigure the official narratives of colonization, dictatorship, and neo-fascism, insisting on counter-histories that are corporeal, blasphemous, and political. In this, his work opens a space where memory, activism, and desire converge to contest power and imagine other futures.