Vivian Caccuri: NOCETRA

By Marielsa Castro Vizcarra

Nocetra moans in reverse
Eurise swallows wind
Ocira shoots and keeps it

Nocetra feels irrational
Tessia works with blood between her legs
Anaíma comes standing still in the hallway

Nocetra embodies many women at once

NOCETRA is an evocative exhibition that seeks to entangle, from a bodily perspective, sensations and emotional experiences beyond abstract thinking. Vivian Caccuri's work challenges the colonial-modern assumption that knowledge is purely rational, insisting that wisdom can originate in muscle, nerve, mucosa, and exhalation. Consistent with her practice, the exhibition revolves around sound—specifically recordings of her internal organs during orgasm—an ode to visceral and long-silenced pleasures within female experience. Caccuri reveals a deeply personal and private dimension of herself—an intimate piece of her organs' sensations.

This recent body of work departs from the artist’s desire to move beyond the tendency to rationalize every gesture and to dismantle the false dichotomy between body and mind, or feeling and thinking. Through immersive soundscapes, animations, embroidered sonograms, drawings, and sculptures, Caccuri depicts the fleeting moment when heightened emotion dissolves consciousness—when the boundaries of the self melt into pure sensation and restore a long-lost inner rhythm of time. These private sounds are amplified and projected into the space paired with images of women dissolving into abstraction. NOCETRA permeates the boundary between the private and the public, inviting viewers to listen and feel together.

In the artist's words, the sonograms are “an inner geology”—the spectrum of the organs that the artist recorded during an orgasm using a digital stethoscope, including heartbeat, breath, voice, movement and involuntary muscular responses. These intimate recordings were translated into visual abstraction through sound spectrograms, becoming the foundations for drawings, embroidered sonograms, and textile works that oscillate between image and vibration. Embroidery, a historically restrictive activity that kept women within the domestic realm, is reappropriated as a radical act of expression and subversion that shares, through images, the elusive sounds of female pleasure.

Caccuri's work calls us to rebel against the tyranny of productivity and against the pursuit of clarity, urging us to embrace the fear of obscurity, the fear of not belonging, and of cutting roots. This exhibition reminds us that true understanding arises from a sensuous, embodied engagement—highlighting the necessity of sentipensar, a term that suggests feeling and thinking as an intertwined, inseparable act. In doing so, Caccuri encourages viewers not only to reflect on the power of their own bodily sensations but also to reconsider the ways societal structures have historically suppressed female pleasure experience, often rendering private feelings silenced or invisible.