São Paulo

Iole de Freitas

Gabinete de Arte Raquel Arnaud

In the early ’60s the work of Iole de Freitas, who was then living in Milan, consisted of a series of photographic images, installations, and experimental films that critiqued the way the female body, and by extension the notion of femininity itself, has been traditionally conceived by dominant representational systems. Fragmented images of the artist’s own body, mirrors—both mimetic props of the image itself and powerful instruments of aggression—and knives populate de Freitas’ early work. For de Freitas, the representation of the female form, always incomplete, was intimately associated with aggression.

Upon her return to Brazil in the ’70s, de Freitas’ work changed radically, at least in appearance, when she began working within the language of contemporary Brazilian sculpture. Using media often considered “traditional,” she still projects a critical power with a mise-en-scène of the

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