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<\/span><\/p>\nDetails of some works showed in the exhibition Sweet Brutalities<\/strong> at <\/span>Museu de Arte Contempor\u00e2nea Casa das Onze Janelas<\/span>. <\/span>July and August 2021, Bel\u00e9m-PA, Brazil<\/span><\/p>\n <\/p>\n By exploring different artistic expressions, Henrique Montanha takes a risk towards a broad possibility of languages \u200b\u200bthat, when observed together, can be understood as an unusual visual poetics, whose central issue is the approaches to the body, its identities and subjectivations, but not just that. We can see an explanation of a distressing generalized loneliness so inseparable from consumer societies and their technologies, where the very relationships are crossed by the capitalist logic of ephemeral, disposable pleasures, fleeting experiences, momentary affections, fleeting loves.<\/span><\/p>\n The artist directs us to different versions of himself, sometimes presenting fictionalized autobiographies, sometimes allegorical representations of trustworthy or imagined intimate desires, which confirm and, at the same time, denounce such flagrant symbolic constructions in a cysheterocentric and masculinist culture.<\/span><\/p>\n Through the intersection of performance, video, photography, painting, drawing, installation, object and writing, \u201cSweet Brutalities\u201d brings to light the way in which globalization produces and subjects the configuration of what we understand as masculine through a wide circulation of images of bodies and models of masculinities in a cybernetic age, commenting on the massively diffused, codified and incorporated physical archetypes, as well as the inevitable disillusionment resulting from the excessive demands imposed by the fanciful hegemonic constructs in their government practices on the bodies. After all, the semantics of violence structures the imagination about masculinity not only by the diffusion of virile bodies associated with absolute vigor, but also by the frustration it generates even in individuals who inhabit the place of masculinity, because it is utopian, and no one fulfills it in its entirety.<\/span><\/p>\n And even though the hyper-exposure of desires imprisoned to the constructions admitted in a culture disciplined by corporeal conventions is blatant, they are not submissive to the moralities so typical of a power willing to censor everything that does not fit its very castrating rules.<\/span><\/p>\n \u201cSweet Brutalities\u201d proposes an uninterrupted tension, a constant short-circuit between analogue and digital technology, between the revival and the current, between the tactile\/feasible and the virtual, between tenderness, delicacy, and violence.<\/span><\/p>\n <\/p>\n Tales Frey<\/span><\/p>\n Curator<\/em><\/span><\/p>\n <\/p>\n 6 August 2021\u00a0<\/span>|\u00a0L<\/span>ive Body of Place Not Place<\/i>, with Tales Frey and Henrique Montanha. <\/span>Mediation by Armando Sobral. YouTube da Secult Par\u00e1.<\/span><\/p>\n<\/div>\n <\/p>\n Henrique Montanha:\u00a0Sweet Brutalities <\/em>| Curator: Tales Frey | Museu de Arte Contempor\u00e2nea Casa das Onze Janelas. Bel\u00e9m-PA, Brazil | 15 July to 30 August 2021<\/span><\/span><\/p>\n <\/p>\n Jornal oliberal.com<\/strong>, 15 de julho de 2021<\/span><\/a><\/span><\/p>\n Portal DOL<\/strong>, 13 de julho de 2021<\/span><\/a><\/span><\/p>\n Revista Carta Capital<\/strong>, 17 de maio de 2021<\/span><\/a><\/span><\/p>\n Jornal A Gazeta<\/strong>, 14 de julho de 2021<\/span><\/a><\/span><\/p>\n Jornal O Popular<\/strong>, 13 de maio de 2021<\/span><\/a><\/span><\/p>\n Jornal O Globo<\/strong>, 13 de maio de 2021<\/span><\/a><\/span><\/p>\n Jornal Folha de S\u00e3o Paulo<\/strong>, 13 de maio de 2021<\/span><\/a><\/span><\/p>\n Jornal O Tempo<\/strong>, 13 de maio de 2021<\/span><\/a><\/span><\/p>\n Dia a Dia Not\u00edcia<\/strong>, 13 de maio de 2021<\/a><\/span><\/span><\/p>\n Jornal Metr\u00f3poles<\/strong>, 13 de maio de 2021<\/span><\/a><\/span><\/p>\nParallel Program of the exhibition Sweet Brutalities<\/span><\/u><\/span><\/h4>\n
CREDITS<\/span><\/h2>\n
Clipping<\/span><\/h2>\n
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