TrAIN Open Lecture: Flávio De Carvalho and his ‘City for the naked man’ | Chelsea College of Art and Design – News & Events

10 Feb

http://www.acidadedohomemnu.blogspot.com

via TrAIN Open Lecture: Flavio De Carvalho and his ‘City for the naked man’ | Chelsea College of Art and Design – News & Events.

I went to this lecture yesterday at Chelsea College of Art which has really inspired me to move to Brazil for a while after I graduate. I haven’t been back there since I was 8 years old and I feel out of touch with my Brazilian background.

The lecture was based on an exhibition that took place in Sao Paulo that touched upon the architect/artist Flávio De Carvalho and his ideas about a city free of  social and cultural constructs i.e. no religion, no marriage, no property, etc. I had heard of this artist rather vaguely before but hadn’t seen any of his work. I went to the lecture not because I thought it’d help me with my work but because I am quite naive when it comes to Brazilian art and it’s been a while now that I feel like going back to my roots. As it turns out, a major topic in this lecture was sexuality and gender especially in the form of transgender which is great as this is the area in which i’d like to direct my work.

There is a particular part of Flávio De Carvalho’s work that really interested me,  ‘ O laboratòrio de eròtica” (The laboratory of erotica) which was a space where you were able to experience sexual desire without repression (monogamous institutionality) He sexualises public spaces and thinks of sexuality as a constant ‘experience’. I have been reading into Freud and his essays on sexuality  and I was surprised that this artist who studied as an architect quotes Freud in his work. He thought that architecture can and is related to sexuality and psychology.

Towards the end of the lecture we were shown a music video by the band SECO & MOLHADOS (fronted by one of the biggest Brazilian artists still around today) Ney Matogrosso who I grew up listening to. I spoke to my mum soon after the lecture as she told me she remembered this particular song being released in 1974 before the band split. She was quite young at the time but they were very big. Ney Matogrosso at that time presented a new type of man, a savage man of the tropics of counter culture. He was and still is an androgynous man. He brought androgyny and transgender to music and he got away with it because he was seen as a ‘weird’ man and also because Brazil has it’s carnival traditions, men would dress as women and vice-versa. He was carnivalesque and it was acceptable because people thought that he was from that school of thought.

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