O CORPO, A SEXUALIDADE E O ERÓTICO NA OBRA DE JÚLIO POMAR / THE BODY, SEXUALITY AND THE EROTIC IN THE WORK OF JÚLIO POMAR (2019)
Two–channel audiovisual installation, 160 slides (80/80), 35mm, black and white, stereo sound, 40 min. loop, variable dimensions; C–print, 50 × 70cm, Portugal
Commission: Atelier-Museu Júlio Pomar/EGEAC – Câmara Municipal de Lisboa
Production: Lamaland
Additional support: Fineprint, MacDowell, O Som e a Fúria, Screen, Yaddo
Support: EGEAC – Câmara Municipal de Lisboa
The body, sexuality, and the erotic in the work of Júlio Pomar establishes free correspondences between the writings and the pictorial work of Júlio Pomar (1926–2018), often considered the greatest Portuguese painter of his generation, focusing primarily on his explorations and concerns around the body, sexuality, and the erotic, with complementing sound that echoes symbolic resonances. By reorganizing and editing fragments of shared cultural heritage, it questions the way art history, with its scientific criteria and intermittent morality, arranges, categorizes, and fixes ways of seeing.
The project was developed under the frame of a commission by Atelier-Museu Júlio Pomar, whose mission is to preserve and disseminate the work of Júlio Pomar (Lisbon 1926–2018).
Atelier—Museu Júlio Pomar
The filmmaker's proposal, a double projection of slides, is unique in its suggested format, recalling almost Godardian processes of analysis on the presence of images and concepts in the universe of painting, highlighting the tactile, haptic dimension of the images. Salomé Lamas directs her gaze towards sensuality and eroticism in Pomar's works and in an intuitive way goes beyond the usual iconographic and historiographic analyses, cross-referencing the artist's voice through the use of excerpts from his critical texts and images of works made over more than seventy years.
Sara Antónia Matos, Pedro Faro, Introduction
The filmmaker's proposal, a double projection of slides, is unique in its suggested format, recalling almost Godardian processes of analysis on the presence of images and concepts in the universe of painting, highlighting the tactile, haptic dimension of the images. Salomé Lamas directs her gaze towards sensuality and eroticism in Pomar's works and in an intuitive way goes beyond the usual iconographic and historiographic analyses, cross-referencing the artist's voice through the use of excerpts from his critical texts and images of works made over more than seventy years.
Sara Antónia Matos, Pedro Faro, Introduction