The principle of interdependence and complementarity that governs human relationships served as the starting point for the creation of Ímã by choreographer Rodrigo Pederneiras. Gentle and vital, trivial and strange, the Grupo Corpo ballet is marked by the constant alternation between fullness and emptiness in the occupation of the stage space. Solos, duets, and larger or smaller group formations are constantly formed and dissipated, in an incessant game of union and dispersion.

The soundtrack composed by +2, a trio formed by Domenico, Kassin, and Moreno, overlays timbres and textures of instruments of diverse origins and natures – such as the guitar and the ocarina, or the synth and the cuíca – to navigate through abstract, essentially melodic or typically electronic themes, and reveal influences ranging from bossa nova artist João Donato to the icon of 70s Afro music Fela Kuti, and the contemporary Japanese multi-instrumentalist Cornelius.

Using newly released seven-color LED spotlights from an American company, Paulo Pederneiras creates a new scenic spatiality. Where volume and texture acquire an "ethereal materiality." Because it is made of pure light.

The solid, almost bucolic tones of the beginning are followed by an explosion of colors. Violent, radical, exuberant, they produce, among themselves or in intense dialogue with Freuza Zechmeister's costumes, unusual and almost always dissonant combinations.

This poetics of polarities, shaped by the magic hidden in the convergence of divergent elements, in the juxtaposition of disparate things, in the excitement surrounding friction, gives the ballet an indescribable mixture of strangeness and beauty.