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  • Corpo, Dentro
    15.09.2023—28.10.2023
    OPENING: 14.09.2023



    General View of the exhibition "Corpo, Dentro"

    © Bruno Lopes





    General View of the exhibition "Corpo, Dentro"

    © Bruno Lopes





    Noite I e Noite II, 2023

    Inkjet print on barita cotton paper
    30 cm x 24 cm (cada)
    © Bruno Lopes





    General View of the exhibition "Corpo, Dentro"

    © Bruno Lopes





    Inflorescence (thoughts of one body within another)

    When analysing the physiognomy of some plants, such as those belonging to the genus in which we can find Calla Lilies (Zantedeschia aethiopica), we quickly notice the presence of a central organ (Spadix) characterized by its expressive protuberance and yellow hue. This element integrates the existence of an inflorescence, developing sequentially along a stem or cauline axis. Around this yellow organ, hundreds of tiny flowers emerge ensuring the plant’s reproducibility, while its surrounding white campanula protects it from possible external aggressions.
    Studying the plant’s shape, we quickly notice how the flowers on the inside remind us of human gestation, establishing a system of relationships in which one body houses another. Upon further study, we also realize that an inflorescence implies the coexistence of two sexes in the same being, an androgyny that embraces and reinvents a joint nature.

    Guided by a poetic idea of fluidity and intertwining, Elisa Azevedo presents a set of images that deal with bodies communicating with each other. Bodies that take us back to the physicality of beings, natural elements and objects, speaking of what anticipates an encounter, what marks a presence, and what remains of its passing. Thus, focusing her gaze on entities and the relationships established between them, the artist pays attention to how things connect and reverberate in a field of limits and overlaps.

    Working on the manifestation of matter and the vibration of will, the existence to which Elisa Azevedo refers speaks not only of the particularities of flesh, the nature of plants, the specificity of objects, or the behaviour of water and light, but above all, the contours of longing, the vulnerability of candour and the fragility of beauty; perceiving how, step by step, everything comes together. When the artist invokes the idea of the body, the materiality of its presence and its change is just as crucial as the immateriality of its absence, intuited in the form of an echo, a whisper, or a memory.

    This dialogue, which swings between the performativity that gestures and objects suggest, and a shyness that occasionally occurs, takes place in an indefinite time. A time that Elisa’s white light, between rawness and charm, helps to sublimate. In the doubt of a possible intimacy, which is sometimes granted and sometimes delayed, Azevedo’s work marks a hypothesis. Something that moves between what is about to emerge, what relays in suspension, and what is fading away.

    Aestheticizing a character that is both innocent and subversive, candid and sexualized, or simultaneously seductive and insinuating, Elisa Azevedo’s photography is challenging to describe. That may be why the movements it enunciates, the situations it engenders, and the bodies it points to, delicately equate a subtle but polyhedral idea of one body within another.

    – Sérgio Fazenda Rodrigues



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