Erotic Drawings Art Fair
This exhibition, which was born in 2013 in a 93 delicatessen factory, is this year infiltrating the Episodique gallery, not far from the Republic, the Place des Résistance.
Eroticism is political. It is not linked to good morals; it is neither polite nor reverential. As the good doctor Freud already evoked it before Marcel Duchamp: eroticism is life, but not that. The first men and the first women drew on the walls of the caves and the drawing serves a thousand related trays: sgnifying forms of abused children, virtuoso of the fine arts, graffiti of the toilets, courageous caricature or prisoner who engraves his beautiful and on the wall ejaculates.
Eroticism has its parallel and singular trajectory, forbidden on the facade by religions and conservative parties: Sade, Verlaine, Aragon, Bataille, Guyotat and so many others have paid the price.
One has to imagine eroticism without a god to have an idea of what freedom could be like to be without shame, without guilt, without fault. But rather with: polygamy, erotomania, nymphomania, sexomania, sadomania, masomania, freedommania, this is how the new social statutes and new agreed salary scales would be distributed: a cunnilingus would be evaluated in pension points, training in caresses proposed by the National Education and prostitution regulated by the services of a Ministry of Eroticism and Communication, many of our elected representatives have proved that they would be able to take care of it.
This show presents multiple versions of an erotic imagination that is abundant and liberating.
As in previous years, more female artists are present with a wide variety of positions, which may seem surprising as in everyday life men seem verbally more expansive in this field.
With these openings and the coming summer, in addition to drawings, some suggestive paintings, lascivious sculptures, sharp photographs and performances of aesthetes will be exhibited.
As the filmmaker Judith Cahen filmed: “The sexual revolution did not take place”, but this Salo is full of proposals to make it happen.
At a very young age, Marilena Pelosi began to make drawings in which exuberant Catholicism and feverish Macumba, from her native Brazil, swirled to the point of delirium. The reminiscence of trance, eucharistic processions and carnivals are inextricably combined with much more intimate evocations. Now living in Normandy, she continues these same disturbing drawings, made with ballpoint pens, in which doll-women are both executioners and victims. Entering the BIC collection (France) in 2019, she is represented in major collections, including those of Hannah Rieger (Austria), Amr Shaker (Switzerland), and Dino Menozzi (Italy).
Rosa Cazhur was born in 1947 in Durazno, a town in central Uruguay. She began drawing as a child, encouraged by her father, and later her fiancé. She was then deeply hurt when her first husband, an artist, repeatedly told her that she had lost her creative spirit. Her next two marriages were also unhappy. During her first stay at the Dr. Bernardo Etchepare psychiatric hospital near Montevideo in 2004, she simply repeated the patterns she learned when working decorating ceramics in Brazil. When the woman in charge of the workshop suggested that she might like to try a freer technique, she decided to work with her eyes closed, until one day she came to the workshop exclaiming “Rosa Cazhur was[…]
Misleidys Francisca Castillo Pedroso
This Cuban artist has no other means of expression than that of her creation. The walls of her home, where she lives with her mother, are covered with drawings of bodybuilders, brown tape scattered along the outlines. A true community of men, women, hermaphrodites and wildlife, Misleidys has built her sociality through her work. Discovered by the gallery in 2014, she has been featured in more than 10 international exhibitions since 2018, including New Images of Man in Los Angeles, Flying High in Vienna, and Independent in New York. Acclaimed by Matthew Higgs and Karen Wong (New Museum, NYC), the artist has been the subject of recent reviews in the New York Times and Art in America.