O CORPO, A SEXUALIDADE E O ERÓTICO NA OBRA DE JÚLIO POMAR (2020)
Publication, offset printing, format 17 X 21 cm, 112pp., PortugalLanguage: português
Text: ilhas, Isabel Ramos, Miguel Martins, Pedro Faro, Roger Munier, Sara Antónia Matos
QR-code extras: O Corpo, a Sexualidade e o Erótico na Obra de Júlio Pomar sound available online
Production: Atelier Museu Júlio Pomar/EGEAC
Printing: Maiadouro
Support: EGEAC – Câmara Municipal de Lisboa
Distribution: Documenta, Sistema Solar
The body, sexuality and the erotic in the work of Júlio Pomar (2019) is an installation designed by Salomé Lamas, which the artist and filmmaker made at the invitation of the Atelier-Museum, to show in the sequence of the exhibition "Júlio Pomar: Formas que se tornam outras", about the erotic dimension in this artist's path. The piece establishes free correspondences between the painter's writings and his pictorial work, focusing mainly on Júlio Pomar's explorations and concerns around the body, sexuality, and the erotic. [...]
In an installation made with slide projectors and sound, the filmmaker uses archival images, sometimes showing fragments of works, sometimes their entirety. These images are reworked, slightly altered, emphasizing some element (a trace, a stain) or reinforcing what is intended to be communicated (processes, materials, methodologies, references), questioning what is traditionally considered the content of a work. What is the content of a painting? Of a drawing? Of an image? What is figuratively represented, or also its material and formal dimension? In the realization of the work, Salomé Lamas, based on the consultation of published books about the artist, of various digital files and other information, in the impossibility but ambition of seeing everything, also problematizes the idea of "archive". In doing so, he questions the way Art History, with its scientific criteria, and sometimes some morality, arranges, categorizes, and fixes ways of seeing. In this work, putting into play an authorial dimension, her own, the filmmaker reorganizes and edits fragments of a common cultural heritage, reminiscent of Godard in The Book of the Image: "Do you still remember how we used to exercise thought? We used to start from a dream. We asked ourselves how it was possible that, in total obscurity, colors of such intensity could appear in us. Great things were said, important things, amazing, deep, and just, in a sweet, low tone of voice. Image and word."
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