Dispersion is the movement that defines Diaspora. It is made of resistant matter, divided and interconnected between female and animal strength. It does not hide looted identities, being understood like the object of construction of a time saturated with "nows"¹, which defines the set of works of
Márcia Porto, maintained since the end of 1990. The Ginaiques, wandering women, simultaneously self-referential and foreign, move freely in search of the forgotten origin, living with ideas created about themselves by those who
eventually transformed them into threats to the homogeneous. All because they left without looking back. Vaguely aware of a certain discomfort in the air, one of them heads the movement that destabilizes homogenizing processes. Intruders, they witness the stupidity of voices that welcome the foreigner, causing him to be fit to the particularities of the place where they pass.
However, as the Diaspora has no fixed identity and carries its lacunar origin, filled with particularities found in each new place, when they traveling through labyrinthine alleys, these women live with questions that echo everywhere, such
as that tearful hymn that Caetano sang: "we exist: to which is it destinated?” The responses renew the urgency of the movement.

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Consisting of shredded memories, Diaspora is generated by the insatiable hunger of the place of the other. It is the result of a process of colonization of seeing, thinking and tread. "The gluttony of the ground will eat
my eye," Manoel de Barros once said. The Diaspora, which the artist builds on this temporary architecture, takes place after the loss of the ground and the resulting experience of instability that generates contact with the unpredictable.
The Ginaiques...