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Open a larger version of the following image in a popup: León Ferrari, Sem título (da série Relectura de la Biblia) [Untitled (from the Relectura de la Biblia series)], 1986 fake moldura
Open a larger version of the following image in a popup: León Ferrari, Sem título (da série Relectura de la Biblia) [Untitled (from the Relectura de la Biblia series)], 1986 Photo: Catalina Romero

León Ferrari Argentina, 1920-2013

Sem título (da série Relectura de la Biblia) [Untitled (from the Relectura de la Biblia series)], 1986
Colagem sobre impressão fotográfica sobre papel [Collage on photo print on paper]
Sem moldura [Unframed]: 27.1 x 21.2 cm [10 1/2 x 8 1/2 in.]
Com moldura [Framed]: 58.3 x 48.5 cm [23 x 19 in.]
LF-0435

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[EN] The Relecturas de la Biblia series, initiated by León Ferrari in the mid-1980s, when still in exile in São Paulo, is composed of collages in which the...
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[EN]


The Relecturas de la Biblia series, initiated by León Ferrari in the mid-1980s, when still in exile in São Paulo, is composed of collages in which the artist juxtaposes images of religious iconography with others of oriental eroticism or taken from the mass media.

The political effect of the montage that the artist puts into action is to unmask – through the encounter of two realities alien to historical time – the links between religiosity and violence that underlie the biblical discourse. For Ferrari, "the Bible is an anthology of cruelties" and contemplates "all the justification of fascism". Several of the images in his collages refer to the profound difference that there is between the Christian conception of sin and the Eastern worldview of eroticism.

[PT]

A série Relecturas de la Biblia, iniciada por León Ferrari em meados da década de 1980, quando ainda estava exilado em São Paulo, é composta de colagens nas quais o artista justapõe imagens da iconografia religiosa com outras do erotismo oriental ou retiradas da comunicação de massa.

O efeito político da montagem que o artista põe em ação é de desmascarar – por meio do encontro de duas realidades alheias ao tempo histórico – os vínculos entre religiosidade e violência que subjazem ao discurso bíblico. Para Ferrari, "a Bíblia é uma antologia de crueldades" e contempla “toda a justificativa do fascismo”. Várias das imagens em suas colagens se referem à profunda diferença que existe entre a concepção cristã do pecado e a cosmovisão oriental do erotismo.

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