Sociability is one of the central themes in OPAVIVARÁ!’s work. Through their projects, the collective explores how people can come together, interact, and share experiences in common environments. Their works promote coexistence, dialogue, and cooperation, inviting the public to reconsider the use of public space and its role in community building. The work of this Brazilian collective manifests in the creation of spaces that invite spontaneous and meaningful interaction between individuals. Their installations and performances not only transform the physical environment but also alter traditional social dynamics, fostering the creation of new relationships and connections among people.

A notable example of this exploration is their piece Rede Social. This installation, located in the monumental space of the Capilla de Afuera at the Centro Andaluz de Arte Contemporáneo (CAAC), consists of a monumental hammock designed for communal rest. This place, historically used by Carthusian monks to attend to visitors of the monastery, is transformed into a space for encounter and relation with the outside through the intervention of the collective. Rede Social invites visitors to climb, navigate, float, and share in a large collective hammock. As they sway, the sounds of integrated bells mimic the sound of water, creating a liquid environment in continuous movement suspended in the air. This work creates a space for pause, a place of experimentation and coexistence where people can enjoy the pleasure of being with others. The hammock network is designed to encourage bodily and sensory contact, creating a tangible "social network" that requires the cooperation and negotiation of its participants.

In OPAVIVARÁ!’s work, coexistence is not limited to merely existing in a common space, but rather, it is about an active and shared experience. Rede Social incorporates everyday elements, such as hammocks and bells, to create an environment that invites collaboration and exchange. This space of contemplation and coexistence allows people, whether known to each other or not, to unite in a collective experience. The hammocks sway with the movement of the visitors, while they are enveloped by the sounds of a Brazilian rattle, traditionally used in samba. This design promotes an interaction that is both physical and social, allowing participants to connect through movement and sound.

Aligning with the theories of Nicolas Bourriaud in his 1998 book Relational Aesthetics, OPAVIVARÁ! focuses on human interactions and social contexts as artistic mediums. Bourriaud proposes that art should focus on interpersonal relationships and the social fabric, creating spaces of exchange and coexistence. According to Bourriaud, instead of producing static objects for passive contemplation, relational artists create situations and spaces that facilitate interaction and communication. This approach moves away from the traditional concept of the artwork as a unique and self-sufficient creation, focusing on its ability to generate meaningful experiences and relationships. Relational artistic practices involve the creation of temporary spaces where new forms of sociability and community can develop.