Vermelho presents CARLOS MOTTA: WE THE ENEMY, the artist’s first solo exhibition in Brazil.
Through video, photographs, sculptures, and installations, Carlos Motta critically engages and documents the social conditions and the historical and present-day political struggles of sexual, gender and ethnic minorities in order to challenge dominant and normative discourses through visibility and self-representation.
Among the main features of Carlos Motta’s work is the narration of historically suppressed stories of sexual-and-gender different individuals and communities, in an attempt to produce counter-narratives that acknowledge non-hegemonic accounts of history. In WE THE ENEMY, Motta contrasts stories of historical and contemporary sexual and gender repression to defy conventions of story-telling, its terms and forms of representation, and the writing of history.
Vermelho presents CARLOS MOTTA: WE THE ENEMY, the artist’s first solo exhibition in Brazil.
Through video, photographs, sculptures, and installations, Carlos Motta critically engages and documents the social conditions and the historical and present-day political struggles of sexual, gender and ethnic minorities in order to challenge dominant and normative discourses through visibility and self-representation.
Among the main features of Carlos Motta’s work is the narration of historically suppressed stories of sexual-and-gender different individuals and communities, in an attempt to produce counter-narratives that acknowledge non-hegemonic accounts of history. In WE THE ENEMY, Motta contrasts stories of historical and contemporary sexual and gender repression to defy conventions of story-telling, its terms and forms of representation, and the writing of history.
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Wall mural and newsprint publication
Photo Edouard Fraipont
In its eighth presentation, this mural piece on the façade of the gallery, examines the political developments of sexual and gender activism. Shapes of Freedom revisits the history of the pink triangle and other sexual diversity symbols. To highlight the importance of collective organizing to achieve social freedom. The mural is accompanied by a historical timeline listing important moments of LGBTQI + history in Brazil and abroad, developed in collaboration with Guilherme Altmayer.
Dimensões variáveis
Wall mural and newsprint publication
Photo Edouard FraipontIn its eighth presentation, this mural piece on the façade of the gallery, examines the political developments of sexual and gender activism. Shapes of Freedom revisits the history of the pink triangle and other sexual diversity symbols. To highlight the importance of collective organizing to achieve social freedom. The mural is accompanied by a historical timeline listing important moments of LGBTQI + history in Brazil and abroad, developed in collaboration with Guilherme Altmayer.
Photo Edouard Fraipont
Video HD. 16:9. color and sound
Photo Carlos Motta
This video presents an interview with Paulo Pascoal, the actor who plays José Francisco Pereira in Corpo Fechado: The Devils Work. Pascoal is a well-known actor in his home country of Angola, who after coming out as a gay during a TEDxLuanda talk, endured death threats, which lead him to migrate to Portugal. In Lisbon, where he currently resides, Pascoal finds himself trapped in a sort of immigration limbo, unable to re-enter Portugal should he ever leave. As Jack McGrath wrote, “the biography of the actor therefore resonates with the life of his character, mutatis mutandis, crisscrossing oceans of both water and time in spectral fulfillment of Benjamin’s historical method”.
19'
Video HD. 16:9. color and sound
Photo Carlos MottaThis video presents an interview with Paulo Pascoal, the actor who plays José Francisco Pereira in Corpo Fechado: The Devils Work. Pascoal is a well-known actor in his home country of Angola, who after coming out as a gay during a TEDxLuanda talk, endured death threats, which lead him to migrate to Portugal. In Lisbon, where he currently resides, Pascoal finds himself trapped in a sort of immigration limbo, unable to re-enter Portugal should he ever leave. As Jack McGrath wrote, “the biography of the actor therefore resonates with the life of his character, mutatis mutandis, crisscrossing oceans of both water and time in spectral fulfillment of Benjamin’s historical method”.
Photo Edouard Fraipont
Pigmented mineral inkjet print on Hahnemühle Photo Luster 260g paper
Photo Carlos Motta
The diptych of portraits of José Francisco Pedroso (2019) – an African enslaved man who, along with José Francisco Pereira, crafted and distributed bolsas de mandinga – is part of the series of contextual works to Corpo Fechado: The Devil’s Work. Carlos Motta collaborated with Portuguese-Guinean actor Welket Bungué to create this portrait, where Bungué’s wears a bolsa de mandiga offered to him by his own mother.
152,4 x 105,5 cm each part of 2
Pigmented mineral inkjet print on Hahnemühle Photo Luster 260g paper
Photo Carlos MottaThe diptych of portraits of José Francisco Pedroso (2019) – an African enslaved man who, along with José Francisco Pereira, crafted and distributed bolsas de mandinga – is part of the series of contextual works to Corpo Fechado: The Devil’s Work. Carlos Motta collaborated with Portuguese-Guinean actor Welket Bungué to create this portrait, where Bungué’s wears a bolsa de mandiga offered to him by his own mother.
Framed whip
Photo Vermelho
108 x 73 x 9 cm
Framed whip
Photo VermelhoPhoto Edouard Fraipont
HD video, 16:9, sound, color
Photo Still do vídeo
This 2018 film tells the story of José Francisco Pereira, a man who was kidnapped and sold into enslavement in the 18th Century. Pereira was taken from Uidá (now Benin, in West Africa) to Pernambuco, Brazil, where he performed syncretic practices in order to survive. Sold to a slaveholder in Portugal, Pereira was caught making amulets –bolsas de mandinga – for his fellows enslaved men and women. In 1731 Pereira was tried by the Lisbon Inquisition for sorcery. In addition, Pereira confessed to having made pacts and copulating with a male demon, and was thus also sentenced for sodomy. José Francisco Pereira was then condemned to be an enslaved rower on a galley ship, sent into exile, and was forever banned from Lisbon.
The film’s script draws from Pereira’s trial documents, Saint Peter Damian’s Letter 31 – The Book of Gomorrah, and Walter Benjamin’s On the Concept of History, in order to tell the story. Written by the Italian reformist monk Saint Peter Damian in the 11th century, Letter 31 includes the earliest and most extensive damning treatment on pederasty and homoerotic practices. As art historian Jack McGrath writes in his essay for Conatus, a 2019 solo exhibition by Motta in New York, “the discourse of the sodomite also played a central role in European colonialism, a theme Motta has extensively explored in earlier video works such as Nefandus Trilogy (2013) and the installation Towards a Homoerotic Historiography (2014), among others.”
On the Concept of History is comprised of 18 theses in which Walter Benjamin critically exposes the conventions of historicism. Benjamin proposes an open-ended approach to history, proposing the construction of different outcomes for the future through the action of the defeated, therefore opposing the idea that the future is the result of both historical evolution and economic and scientific progress. According to McGrath, “in Corpo Fechado, Pereira incarnates Benjamin’s Angel of History, a seraph caught in a storm blowing from Paradise, propelled inexorably into the future yet facing backward, doomed to see only the wreckage of the past. […] Motta’s film brings together little-known figures like Pereira and Damian, retrieved from archives of a distant past, for a story of migration, race, sexuality, law, and belief, whose contemporary urgency reframes conditions of the present.”
25'
HD video, 16:9, sound, color
Photo Still do vídeoThis 2018 film tells the story of José Francisco Pereira, a man who was kidnapped and sold into enslavement in the 18th Century. Pereira was taken from Uidá (now Benin, in West Africa) to Pernambuco, Brazil, where he performed syncretic practices in order to survive. Sold to a slaveholder in Portugal, Pereira was caught making amulets –bolsas de mandinga – for his fellows enslaved men and women. In 1731 Pereira was tried by the Lisbon Inquisition for sorcery. In addition, Pereira confessed to having made pacts and copulating with a male demon, and was thus also sentenced for sodomy. José Francisco Pereira was then condemned to be an enslaved rower on a galley ship, sent into exile, and was forever banned from Lisbon.
The film’s script draws from Pereira’s trial documents, Saint Peter Damian’s Letter 31 – The Book of Gomorrah, and Walter Benjamin’s On the Concept of History, in order to tell the story. Written by the Italian reformist monk Saint Peter Damian in the 11th century, Letter 31 includes the earliest and most extensive damning treatment on pederasty and homoerotic practices. As art historian Jack McGrath writes in his essay for Conatus, a 2019 solo exhibition by Motta in New York, “the discourse of the sodomite also played a central role in European colonialism, a theme Motta has extensively explored in earlier video works such as Nefandus Trilogy (2013) and the installation Towards a Homoerotic Historiography (2014), among others.”
On the Concept of History is comprised of 18 theses in which Walter Benjamin critically exposes the conventions of historicism. Benjamin proposes an open-ended approach to history, proposing the construction of different outcomes for the future through the action of the defeated, therefore opposing the idea that the future is the result of both historical evolution and economic and scientific progress. According to McGrath, “in Corpo Fechado, Pereira incarnates Benjamin’s Angel of History, a seraph caught in a storm blowing from Paradise, propelled inexorably into the future yet facing backward, doomed to see only the wreckage of the past. […] Motta’s film brings together little-known figures like Pereira and Damian, retrieved from archives of a distant past, for a story of migration, race, sexuality, law, and belief, whose contemporary urgency reframes conditions of the present.”
Photo Edouard Fraipont
16:9 HD video, sound, color
Photo Video still
25'
16:9 HD video, sound, color
Photo Video stillPhoto Edouard Fraipont
Pigmented mineral inkjet print on Hahnemühle Photo Luster 260g paper
Photo Carlos Motta
This series of photographs present a hooded figure handling snakes. The images refer to gay fetish practices associated with “sexual deviance.”
114,3 x 76,2 cm cada parte de 3
Pigmented mineral inkjet print on Hahnemühle Photo Luster 260g paper
Photo Carlos MottaThis series of photographs present a hooded figure handling snakes. The images refer to gay fetish practices associated with “sexual deviance.”
Pigmented mineral inkjet print on Hahnemühle Photo Luster 260g paper
Photo Carlos Motta
This series of photographs present a hooded figure handling snakes. The images refer to gay fetish practices associated with “sexual deviance.”
114,3 x 76,2 cm
Pigmented mineral inkjet print on Hahnemühle Photo Luster 260g paper
Photo Carlos MottaThis series of photographs present a hooded figure handling snakes. The images refer to gay fetish practices associated with “sexual deviance.”
Pigmented mineral inkjet print on Hahnemühle Photo Luster 260g paper
Photo Carlos Motta
This series of photographs present a hooded figure handling snakes. The images refer to gay fetish practices associated with “sexual deviance.”
114,3 x 76,2 cm
Pigmented mineral inkjet print on Hahnemühle Photo Luster 260g paper
Photo Carlos MottaThis series of photographs present a hooded figure handling snakes. The images refer to gay fetish practices associated with “sexual deviance.”
Photo Edouard Fraipont
Bronze, plexiglass, water and cement
Photo Vermelho
Motta created the bronze effigy in the image of an 18th century wooden sculpture in São Paulo, an ecclesiastical object crafted by artisans working in colonial subjection. As an artifact of exploitation, the piece indicts the art and religion that assisted the colonial system. As Benjamin wrote in On the Concept of History, ‘There is no document of civilization that is not at the same time a document of barbarism’.”
110,5 x 88 x 51 cm
Bronze, plexiglass, water and cement
Photo VermelhoMotta created the bronze effigy in the image of an 18th century wooden sculpture in São Paulo, an ecclesiastical object crafted by artisans working in colonial subjection. As an artifact of exploitation, the piece indicts the art and religion that assisted the colonial system. As Benjamin wrote in On the Concept of History, ‘There is no document of civilization that is not at the same time a document of barbarism’.”
Photo Carlos Motta
Pigmented mineral inkjet print on Hahnemühle Photo Luster 260g paper
Photo Carlos Motta
This series of photographs present a hooded figure handling snakes. The images refer to gay fetish practices associated with “sexual deviance.”
114,3 x 76,2 cm
Pigmented mineral inkjet print on Hahnemühle Photo Luster 260g paper
Photo Carlos MottaThis series of photographs present a hooded figure handling snakes. The images refer to gay fetish practices associated with “sexual deviance.”
Photo Edouard Fraipont
Bronze
Photo Vermelho
The Corpo Fechado series is comprised of a series of vintage whips cast in bronze and sculpted in such way that their motions appear as a frozen instant. These pieces are also part of the series of sculptural and photographic objects that relate to Corpo Fechado: The Devil’s Work. Like in the film, there is a reversal on the handling of the whip as these tools for punishment are inverted in these works, drawing near to BDSM practices where pleasure and pain converge, and where relations of power and submission are consensual.
65 x 32 x 4 cm + 104 x 40 x 4 cm + 196 x 35 x 3 cm
Bronze
Photo VermelhoThe Corpo Fechado series is comprised of a series of vintage whips cast in bronze and sculpted in such way that their motions appear as a frozen instant. These pieces are also part of the series of sculptural and photographic objects that relate to Corpo Fechado: The Devil’s Work. Like in the film, there is a reversal on the handling of the whip as these tools for punishment are inverted in these works, drawing near to BDSM practices where pleasure and pain converge, and where relations of power and submission are consensual.
Bronze
Photo Vermelho
The Corpo Fechado series is comprised of a series of vintage whips cast in bronze and sculpted in such way that their motions appear as a frozen instant. These pieces are also part of the series of sculptural and photographic objects that relate to Corpo Fechado: The Devil’s Work. Like in the film, there is a reversal on the handling of the whip as these tools for punishment are inverted in these works, drawing near to BDSM practices where pleasure and pain converge, and where relations of power and submission are consensual.
92 x 33 x 4 cm
Bronze
Photo VermelhoThe Corpo Fechado series is comprised of a series of vintage whips cast in bronze and sculpted in such way that their motions appear as a frozen instant. These pieces are also part of the series of sculptural and photographic objects that relate to Corpo Fechado: The Devil’s Work. Like in the film, there is a reversal on the handling of the whip as these tools for punishment are inverted in these works, drawing near to BDSM practices where pleasure and pain converge, and where relations of power and submission are consensual.
Bronze
Photo Vermelho
The Corpo Fechado series is comprised of a series of vintage whips cast in bronze and sculpted in such way that their motions appear as a frozen instant. These pieces are also part of the series of sculptural and photographic objects that relate to Corpo Fechado: The Devil’s Work. Like in the film, there is a reversal on the handling of the whip as these tools for punishment are inverted in these works, drawing near to BDSM practices where pleasure and pain converge, and where relations of power and submission are consensual.
146 x 8 x 4 cm
Bronze
Photo VermelhoThe Corpo Fechado series is comprised of a series of vintage whips cast in bronze and sculpted in such way that their motions appear as a frozen instant. These pieces are also part of the series of sculptural and photographic objects that relate to Corpo Fechado: The Devil’s Work. Like in the film, there is a reversal on the handling of the whip as these tools for punishment are inverted in these works, drawing near to BDSM practices where pleasure and pain converge, and where relations of power and submission are consensual.
Bronze
Photo Vermelho
The Corpo Fechado series is comprised of a series of vintage whips cast in bronze and sculpted in such way that their motions appear as a frozen instant. These pieces are also part of the series of sculptural and photographic objects that relate to Corpo Fechado: The Devil’s Work. Like in the film, there is a reversal on the handling of the whip as these tools for punishment are inverted in these works, drawing near to BDSM practices where pleasure and pain converge, and where relations of power and submission are consensual.
180 x 30 x 4,5 cm
Bronze
Photo VermelhoThe Corpo Fechado series is comprised of a series of vintage whips cast in bronze and sculpted in such way that their motions appear as a frozen instant. These pieces are also part of the series of sculptural and photographic objects that relate to Corpo Fechado: The Devil’s Work. Like in the film, there is a reversal on the handling of the whip as these tools for punishment are inverted in these works, drawing near to BDSM practices where pleasure and pain converge, and where relations of power and submission are consensual.
Photo Edouard Fraipont
Photo Edouard Fraipont
Video – color, sound
Photo video still
This video piece presents a 30-minute endurance performance made by Carlos Motta for the camera. Legacy shows the artist looking straight at the camera as he wears a dental gag and tries to read out a timeline of HIV/AIDS, from 1908 to 2019, dictated to him by American radio broadcaster Ari Shapiro. Unable to speak clearly, struggling to remember the lines and in pain, the artist gradually and visibly exhausts himself.
directed and performed by: Carlos Motta
research: Ted Kerr, Carlos Motta
voice over: Ari Shapiro
camera: Tyler Haft
drawing: Luca Cruz Salvati, Carlos Motta
29’20’’
Video – color, sound
Photo video stillThis video piece presents a 30-minute endurance performance made by Carlos Motta for the camera. Legacy shows the artist looking straight at the camera as he wears a dental gag and tries to read out a timeline of HIV/AIDS, from 1908 to 2019, dictated to him by American radio broadcaster Ari Shapiro. Unable to speak clearly, struggling to remember the lines and in pain, the artist gradually and visibly exhausts himself.
directed and performed by: Carlos Motta
research: Ted Kerr, Carlos Motta
voice over: Ari Shapiro
camera: Tyler Haft
drawing: Luca Cruz Salvati, Carlos Motta
Photo Edouard Fraipont
HD video, 16:9, color, sound
Photo Video still
SPIT! (Sodomite, Inverts, Perverts Together!) is a collective formed in 2017 by Carlos Motta, writer John Arthur Peetz, and artist Carlos Maria Romero. SPIT! wrote a series of queer manifestos that were initially performed at Frieze projects, London. In the 2019 video, Greek artist Despina Zacharopoulos performs WE THE ENEMY, a summary of derogatory slangs and insults to queer people. Spoken by Zacharopoulos with defiant pride, these terms are re-appropriated becoming watchwords or a kind of summoning of the powerless.
3'49''
HD video, 16:9, color, sound
Photo Video stillSPIT! (Sodomite, Inverts, Perverts Together!) is a collective formed in 2017 by Carlos Motta, writer John Arthur Peetz, and artist Carlos Maria Romero. SPIT! wrote a series of queer manifestos that were initially performed at Frieze projects, London. In the 2019 video, Greek artist Despina Zacharopoulos performs WE THE ENEMY, a summary of derogatory slangs and insults to queer people. Spoken by Zacharopoulos with defiant pride, these terms are re-appropriated becoming watchwords or a kind of summoning of the powerless.
Photo Edouard Fraipont
Photo Edouard Fraipont
Bronze, concrete, iron and wooden inner structure
Photo Edouard Fraipont
WE THE ENEMY (2019) is a series comprised of 41 bronze sculptures based on representations of the devil drawn from art history: historical paintings that portray Satan in hell, drawings, illustrations, and sculptures that represent evil embodied. Each figure defies normative moral standards of beauty, respectability, and behavior. Among this army of demons, there are characters who suggest sexual perversion – as typified by traditional catholic imagery.
155 x 13 x 13 cm each piece of 5
Bronze, concrete, iron and wooden inner structure
Photo Edouard FraipontWE THE ENEMY (2019) is a series comprised of 41 bronze sculptures based on representations of the devil drawn from art history: historical paintings that portray Satan in hell, drawings, illustrations, and sculptures that represent evil embodied. Each figure defies normative moral standards of beauty, respectability, and behavior. Among this army of demons, there are characters who suggest sexual perversion – as typified by traditional catholic imagery.
Photo Edouard Fraipont
Bronze
Photo Edouard Fraipont
WE THE ENEMY (2019) is a series comprised of 41 bronze sculptures based on representations of the devil drawn from art history: historical paintings that portray Satan in hell, drawings, illustrations, and sculptures that represent evil embodied. Each figure defies normative moral standards of beauty, respectability, and behavior. Among this army of demons, there are characters who suggest sexual perversion – as typified by traditional catholic imagery.
155 x 13 x 13 cm each piece of 5
Bronze
Photo Edouard FraipontWE THE ENEMY (2019) is a series comprised of 41 bronze sculptures based on representations of the devil drawn from art history: historical paintings that portray Satan in hell, drawings, illustrations, and sculptures that represent evil embodied. Each figure defies normative moral standards of beauty, respectability, and behavior. Among this army of demons, there are characters who suggest sexual perversion – as typified by traditional catholic imagery.
Photo Edouard Fraipont
Photo Edouard Fraipont
Photo Edouard Fraipont
Pigmented mineral inkjet print on Hahnemühle Photo Luster 260g paper
Photo Edouard Fraipont
In Untitled Self-Portrait # 3,is a photograph where Motta depicts himself simultaneously mournful and resolute, showing a clenched resilient fist, and resting his wistful head on a mirrored surface. As Jack McGrath warns: “Sometimes to gaze into a mirror is to see the malefactors of history leering back out, and real progress requires the courage to criticize even oneself.”
76,2 x 114,3 cm
Pigmented mineral inkjet print on Hahnemühle Photo Luster 260g paper
Photo Edouard FraipontIn Untitled Self-Portrait # 3,is a photograph where Motta depicts himself simultaneously mournful and resolute, showing a clenched resilient fist, and resting his wistful head on a mirrored surface. As Jack McGrath warns: “Sometimes to gaze into a mirror is to see the malefactors of history leering back out, and real progress requires the courage to criticize even oneself.”
Photo Edouard Fraipont