Auto-retrato, 1900
Óleo sobre tela
Museu Soares dos Reis
What sense does it make, in 2021, the shocking phrase displayed in 1989 Guerrilla Girls poster: “Do Women Have To Be Naked To Get Into the Met. Museum?”
The most recent years have witnessed a reversal of the women’s presence in the art scene in Portugal. From a marginal role, diplomatically tolerated, and only in the condition of not presenting a threat, to seeing the presence of women in museum boards, in the development of art galleries, in the academy and curatorship, and most importantly in artistic production.
The relationship between the women-artist with the feminine body is a problem that has acquired a lot of attention in contemporary reflection. We can go back to the infamous self-portrait by Aurélia de Souza, where the painter, in addition to choosing her own body as the center piece, elected it as a theme and decided to represent herself with an absolutely direct look, which was for sure challenging and disconcerting for the society at the time. There was a structure that was long rooted in society and it was not up for disruptions. A long time passed until Helena Almeida was allowed to leave to Paris alone to start a project of personal and professional valorisation, leaving two small children in the custody of her husband – also an artist – and returning to Lisbon to start a unique artistic journey where the woman’s body, with its symbolic and instrumental values, is central to the social problematisation of art.
This small exhibition seeks to ponder on the relationship between the woman-artist and the body as a theme, object and vehicle through lesser-known pieces.
Sem título, 1933
Tinta-da-china sobre papel
Colecção Gulbenkian
Sem título
Pastel, Guache, Tinta-da-china e Lápis de cor sobre papel Colecção Gulbenkian
Sem título, 1958
Gravura sobre papel
Colecção Gulbenkian
Sem título
Água-forte
Colecção Gulbenkian
Juventude, 1958
Bronze e Mármore
Colecção Gulbenkian
Mulher do Povo, 1959
Madeira e Bronze
Colecção Gulbenkian
Maternidade, 1964
Granito e Bronze
Colecção Gulbenkian
The City: On the fourth day it rained flowers on the whore, 1982
Grafite sobre papel
Colecção Gulbenkian
The City: On sixth day the mad woman ascended to heaven, 1982
Grafite sobre papel
Colecção Gulbenkian
Ouve-me, 1979
Vídeo Super 8, Vídeo DVD e Vídeo VHS
Colecção Gulbenkian
Seduzir, 2002
Papel Fotográfico, Fotografia e Tinta acrílica
Colecção Gulbenkian
Modern Woman, 2005
Vídeo-colagem, cor, som
Colecção Gulbenkian
Geometrical Reconstructions and figure with roses (nº12), 1987
Papel Fotográfico e Plexiglass
Colecção Gulbenkian
S/ Título n.º 4, 1999
Água-forte
Colecção Gulbenkian
S/ Título n.º 5, 1999
Água-forte
Colecção Gulbenkian
Senhora!, 2010
Instalação Sonora
Colecção Gulbenkian