Formas Que Se Tornam Outras
«Making art from bodies. Making art with bodies. Make body art. From the movement of the body over another body to produce more body and from that to generate an art form. The body is always evolving: the body of art, politics, work. The body of sexuality, love, friendship. The fighting body. The trapped body. The free body. Pomar worked with all these bodies and others that were not named (especially those that are difficult to fix, undergoing transformation) — which we sought to highlight in the different parts of the exhibition, giving the impression that the body and its innate indefiniteness were always underlying throughout its journey. and artistic production.
That pencil drawing on stationery, an untitled, undated study, probably from the time when Júlio Pomar had a studio in Praça da Alegria, in Lisbon, is a drawing of a flower. There is probably no more erotic element than a flower, which opens and closes like the human body, gives and protects itself, frees and collects, is inseminated and reproduces, like the male and the female, concentrating in itself the beauty and the fluidity that the concept of eroticism involves. As, incidentally, Emanuele Coccia mentions in the book A Vida das Plantas. A Metaphysics of Mixture [Documenta, 2019], the flower is, par excellence, «the active instrument of mixing: any encounter and every union with other individuals is made through it». Thus, in this exhibition, the flower, a sessile being, serves as a starting point to approach a series of concepts that became fundamental in Júlio Pomar's experiences around Eroticism, namely the idea of continuous becoming, transformation, fusion and of metamorphosis, inseparability between penetrated and penetrating — an aspect shaped in the Étreinte [Abraço] drawings, from the 1979 series, made to illustrate the book Corpo Verde, by Maria Velho da Costa, with whom Júlio Pomar worked and whose texts are published in this catalog .» Sara Antónia Matos and Pedro Faro
- 17 x 21 cm
- Portuguese / English
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