Túlio Rosa is a Brazilian artist and researcher based in Brussels. Their work unfolds at the intersection of performance, sound, writing, and moving image to explore how histories
of violence are inscribed in bodies, landscapes, and cultural forms. Working with archives—both official and affective—they use practices of analysis, decomposition, and montage to open up symbolic spaces for potential healing processes.

Túlio holds an MA in Performing Arts and Visual Culture from the Reina Sofia Museum / University of Castilla-La Mancha and was an associate researcher at a.pass (Advanced Performance and Scenography Studies). They are currently pursuing  a practice-based PhD at PhDArts (Leiden University / Royal Academy of Art The Hague), with a project that explores the notion of reparative aesthetics through critical fabulation and speculative composition. Focusing on two key elements of the opera Il Guarany, they examine how genocidal and extractive dynamics that marked Brazilian history are sustained in the public imaginary through cultural forms.

In recent years, Túlio developed the long-term project Arquivo Atlântico in collaboration with Beatriz Cantinho, engaging with the memory and legacies of colonialism in the South Atlantic through performative, curatorial, and compositional practices. In 2024, they were awarded the Emerging Artist Research Grant from the Flemish Government for H(a)unting Songs, a project tracing poetics of disappearance and resistance through exercises of wording and sounding.

A significant part of their practice is built through collaboration. Túlio is part of Sismos, a collective project developed between Brazil, Uruguay, Argentina, and Chile, investigating the resonances between body and territory in the context of Abya Yala. The prject, supported by Iberescena, resulted in the performance Territmia, premiered in january at Santiago OFF and currently on tour. With Indigenous leader and artist Glicéria Tupinambá, they worked on Tupinambá Ybaka, included in the exhibition O Quilombismo at HKW (Berlin), and commissioned and translated her text What is the Place of Indigenous People? for The Funambulist magazine.

Within the field of dance, Túlio collaborated with Amanda Piña on Frontera: A Living Monument, and with Marcelo Evelin as performer in the work Suddenly Everywhere is Black with People and assistant director in Barricada. They are invested in creating contexts for collective experimentation and reflection. Together with Paoletta Holst, they organized Afterimage, and Crossreadings, and with Amy Pickles and Chloë Janssens, co-curated On Coloniality — a public gathering for study, conversation, and artistic experimentation on the enduring structures of coloniality, within the context of a.pass’ postgraduate program.

Túlio’s writing has been published in journals and magazines such as Performance Research, Brand New Life, and Full Love, they have contributed to books like In These Circumstances (Onomatopee) and Coleção Olhares (University of Coimbra). They are also the author of two research publications: Arquivo Atlântico, together with Beatriz Cantinho, and The Hunter’s Song

At the core of their work is an investment in anticolonial practices, the politics of memory, and the possibility of rewriting personal and collective stories as a gesture of reparation.