This article deals with existences and resistances – rexistences – sexual and black dissidents from the music videos of the contemporary Brazilian artist Linn da Quebrada, more specifically Absolutes and blasFêmea, both from 2017. Self-identified as a black, peripheral transvestite and ‘gender terrorist’, Linn da Quebrada makes his audiovisual works an artistic reaction to the violence of the cystema – cissexist world-system (VERGUEIRO, 2015) – white heteronormative. His music videos are ‘frictions’ between documentary and fictional and are marked by a hybridism specific to the language of video (PRYSTHON, 2012; SOARES, 2012). The two clips are driven by queer crowds (PRECIADO, 2011) and have their narratives infiltrated by opposing looks that subvert stereotypical audiovisual representations of black women (HOOKS, 2019). We approach the works methodologically through a joint analysis of music video based on artistic performance, space and time (SOARES, 2012). The purpose of writing is to turn it into listening: listen to the voices of the gender-diverse collectives of Linn da Quebrada’s music videos and understand how art can be a strategic political territory to be occupied by corps – a political twist of the word “body” made by trans activists and researchers and sexual and gender dissidents – black in the maintenance of cuir rexistences in Brazil, in a Latin American regurgitation of the English-speaking term “queer”.