Eat Art

In this series, Panmela Castro swaps the support of morbid concrete walls of the city, for male bodies, making her mark in the private space and challenging the male morality, making female sexuality her protagonist.

"EatArt or art to be eaten, unites the imaginary orders of the digestive and the erotic. If the Graffitied walls of the metropolis seem to modernize it, and somehow digest it, and in this way enact the resumption of public space as the location par excellence of the erection of the polis, which is now more the work of its practitioners than its managers, rather, more the walls of live flesh than those of asseptic concrete, the exposition “Eat Art” at once abandons the metaphorical and transforms stone into flesh. It is not, however, any kind of flesh, but masculine flesh, a flesh which, traditionally, does not allow itself to be consumed, a flesh that is almost wall-like in its hardness, cemented by male honor. If in the contemporary metropolis the great monuments, tired of the morbidity of their hardness, now demand new movements, a greater femininity, then manhood has also begun to laugh at itself. As anachronic, however, as the managers or the guardians of male morality may be, both clamor for the same thing – for the hardness of yore. And if there is anything that makes such hardness tremble, it is the sexualized woman, the woman who is the protagonist of her own sexual preferences.

With this in mind, Anarkia leads men to her Studio and, alone, undresses them, chooses a part of their wall-like bodies and renders them more than skin, but also sweat and paint. Sweat, paint and skin together compose a scenario which is tensioned between the model’s apparently more passive masculinity and the artist’s perhaps more active femininity, balancing, in this way, our most well-known gender codes. It is undeniable, however, that the sexual odor present in the environment, eminating from interaction, is capable of producing excitement not only in the model, but also in the artist, which becomes explicit in some of the photos. Here, aesthetic production is no longer only represented by the Graffiti on the young man’s body, but also by the invitation, acceptance, undressing, touching, words exchanged, sweat, and finally, no longer knowing who is eating whom."

Gustavo Coelho

Professor at Universidade do Estado do Rio de Janeiro (Rio de Janeiro State University),

Doctoral candidate in the area of Education, Documentary maker.