{"id":377,"date":"2021-12-14T11:56:09","date_gmt":"2021-12-14T11:56:09","guid":{"rendered":"https:\/\/www.mvac.pt\/?page_id=377"},"modified":"2021-12-14T11:56:09","modified_gmt":"2021-12-14T11:56:09","slug":"mulher-corpo-mulher","status":"publish","type":"page","link":"http:\/\/www.mvac.pt\/en\/mulher-corpo-mulher\/","title":{"rendered":"woman | body | woman"},"content":{"rendered":"
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Aur\u00e9lia de Souza<\/strong>
Auto-retrato, 1900
\u00d3leo sobre tela
Museu Soares dos Reis<\/figcaption><\/figure>\n\n\n\n

What sense does it make, in 2021, the shocking phrase displayed in 1989 Guerrilla Girls poster: \u201cDo Women Have To Be Naked To Get Into the Met. Museum?\u201d<\/em><\/p>\n\n\n\n

The most recent years have witnessed a reversal of the women\u2019s 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.<\/p>\n\n\n\n

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 Aur\u00e9lia 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 \u2013 also an artist \u2013 and returning to Lisbon to start a unique artistic journey where the woman\u2019s body, with its symbolic and instrumental values, is central to the social problematisation of art.<\/p>\n\n\n\n

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.<\/p>\n\n\n\n\t\t\n\t\t

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\n\t\t\t\t \t\t\t\t \n\t\t\t\t
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Of\u00e9lia Marques<\/strong>
Sem t\u00edtulo, 1933
Tinta-da-china sobre papel
Colec\u00e7\u00e3o Gulbenkian<\/div>\n\n\n\t
<\/div><\/div>\n<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Of\u00e9lia Marques<\/strong>
Sem t\u00edtulo
Pastel, Guache, Tinta-da-china e L\u00e1pis de cor sobre papel Colec\u00e7\u00e3o Gulbenkian<\/div>\n\n\n\t
<\/div><\/div>\n<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Alice Jorge<\/strong>
Sem t\u00edtulo, 1958
Gravura sobre papel
Colec\u00e7\u00e3o Gulbenkian<\/div>\n\n\n\t
<\/div><\/div>\n<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t\t\"\"\n\n\t\t\t\t\t
Alice Jorge<\/strong>
Sem t\u00edtulo
\u00c1gua-forte
Colec\u00e7\u00e3o Gulbenkian<\/div>\n\n\n\t
<\/div><\/div>\n<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Maria Barreira<\/strong>
Juventude, 1958
Bronze e M\u00e1rmore
Colec\u00e7\u00e3o Gulbenkian<\/div>\n\n\n\t
<\/div><\/div>\n<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Maria Barreira<\/strong>
Mulher do Povo, 1959
Madeira e Bronze
Colec\u00e7\u00e3o Gulbenkian<\/div>\n\n\n\t
<\/div><\/div>\n<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Nat\u00e9rcia Bragan\u00e7a<\/strong>
Maternidade, 1964
Granito e Bronze
Colec\u00e7\u00e3o Gulbenkian<\/div>\n\n\n\t
<\/div><\/div>\n<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Margarida Kendall<\/strong>
The City: On the fourth day it rained flowers on the whore, 1982
Grafite sobre papel
Colec\u00e7\u00e3o Gulbenkian<\/div>\n\n\n\t
<\/div><\/div>\n<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t\t\"\"\n\n\t\t\t\t\t
Margarida Kendall<\/strong>
The City: On sixth day the mad woman ascended to heaven, 1982
Grafite sobre papel
Colec\u00e7\u00e3o Gulbenkian<\/div>\n\n\n\t
<\/div><\/div>\n<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Helena Almeida<\/strong>
Ouve-me, 1979
V\u00eddeo Super 8, V\u00eddeo DVD e V\u00eddeo VHS
Colec\u00e7\u00e3o Gulbenkian<\/div>\n\n\n\t
<\/div><\/div>\n<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t\t\"\"\n\n\t\t\t\t\t
Helena Almeida<\/strong>
Seduzir, 2002
Papel Fotogr\u00e1fico,\u00a0Fotografia e Tinta acr\u00edlica
Colec\u00e7\u00e3o Gulbenkian<\/div>\n\n\n\t
<\/div><\/div>\n<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Maria Lusitano<\/strong>
Modern Woman, 2005
V\u00eddeo-colagem, cor, som
Colec\u00e7\u00e3o Gulbenkian<\/div>\n\n\n\t
<\/div><\/div>\n<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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J\u00falia Ventura<\/strong>
Geometrical Reconstructions and figure with roses (n\u00ba12), 1987
Papel Fotogr\u00e1fico e Plexiglass
Colec\u00e7\u00e3o Gulbenkian<\/div>\n\n\n\t
<\/div><\/div>\n<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Paula Rego<\/strong>
S\/ T\u00edtulo n.\u00ba 4, 1999
\u00c1gua-forte
Colec\u00e7\u00e3o Gulbenkian<\/div>\n\n\n\t
<\/div><\/div>\n<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Paula Rego<\/strong>
S\/ T\u00edtulo n.\u00ba 5, 1999
\u00c1gua-forte
Colec\u00e7\u00e3o Gulbenkian<\/div>\n\n\n\t
<\/div><\/div>\n<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t\t\"\"\n\n\t\t\t\t\t
Lu\u00edsa Cunha<\/strong>
Senhora!, 2010
Instala\u00e7\u00e3o Sonora
Colec\u00e7\u00e3o Gulbenkian<\/div>\n\n\n\t
<\/div><\/div>\n<\/div>\n\t\t\t\t<\/div>\n\n\t\t\t<\/div>\n\t\t\t\n\n\t\t\t \n\t\t<\/div>\n\t\t\n\n\t\t