Guillermo Kuitca's work belongs to the order of cannibal architectures from Bormazo to Piranesi. Stadiums, theaters, hospitaIs are uninhabited architectural designs. The human beings present seem consumed by the logic ofthe regulation ofthe body's place in social space and by an indication ofthe panopticon. The curator is Jorge Helft. The name ofthe city brings an index of the crematorium furnaces, since architecture is a monument of barbarity. Beds, the place where what hurts and flows like phantasmagoria is that which desire establishes as cannibalism. "Love is impotent, even if reciprocaI, because it ignores that it is merely the desire to be One, which leads us to the impossible of establishing the relationship of the .. . The relationship of the who?-two sexes," writes Lacan. 19 Our project consisted in gathering some of the female artists who contribute in a unique way to the relationship of art and desire. Maria Martins, Lygia Clark and Louise Bourgeois. They are artists whose works are phantasmagoric operations. Amorous fusion exposes, for example, its voracious strength in Martins' O ímpossível [The impossible], or in Bourgeois' Couples, whilst Clark often poses this experience. A small object by Maria, Aranha [Spider] (I946), Bourgeois' great sculpture-installation Spíder, and the existential entanglement of works such as Estrutura víva [Live structure] (I969), Baba antropofágíca [Anthropophagic drool] (I973) and Rede de elástíco [Elastic net] (I974), by Lygia Clark set singular perspectives of the feminine against what could be a mere theme. Maria Martins dedicated herselfto themes like fertility and oralness. ln the '4os, Amazonian legends and surrealist connotations highlight her production. Forest cípó 20 entangle like serpents, like the Laocoon. They also convey the artist's affinity with Lipchitz's work. Clement Greenberg commented on Maria Martins' exhibition in New York in I944, saying that her sculptures "were possibly the last, completely live manifestations of academic sculpture" and noting her baroque and not modern impulse, reminiscent of colonial Latin decor and of tropicalluxuríance.21 "I think I might even become anthropophagite," wrote Lygia Clark to Hélio Oiticica, "I want to eat everyone I love."22 Clark places Antropofagia on the psychoanalytic perspective of cannibalism. Alike the "Manifesto antropófago," ("Against social reality, dressed and oppressive, registered by Freud"), she also rejects Freud: "We reject the Freudian idea of man conditioned by his unconscious past."23 Freud's Totem and taboo is the starting point in the psychoanalytic discussion of cannibalism, but it was also rejected by anthropology.24 ln the '70S, Lygia Clark lectured at the Sorbonne, where she developed her poetic proposals oflived experiences, working with young people, "who are prepared in everything from the nostalgia of the body [. .. ] to its reconstruction to end in what I call collective body, anthropophagic drool or cannibalism."25 During that period, Clark did psychoanalysis with Pierre Fédida, who in the fall of I972 published "Le cannibalisme mélancholique" [Melancholic cannibalism] in the issue of "Destins du cannibalisme" [Destinies of cannibalism] of the Nouvelle Revue de Psychanalyse. 26 ln I973 Clark created two works linked to Fédida's thought. Caníbalísmo, in which "the group eats with blindfolded eyes from the stOmach of a young man lying down."27 The use ofthe term "cannibalism" is rare in Brazilian culture since it uses widely "antropofagia" instead (held as the devourment ofthe human being-body and moral entity). Clark says that her "work is my own phantasmagoria which I give to the other, suggesting that they clean it and enrich it with their own phantasmagoria: thus it is an anthropophagic drool that I vomit, that is swallowed by them and added to their phantasmagoria vomited again [... ] . This is what I call 1ive culture."28 Fédida did not use the term antropofagía in his article. "Cannibalism is the consciousness of the second mouth, an anthropophagic expression of the being that transforms me into the great lost womb inverting the position and the mother is eaten to fulfillit,"29 affirmed Clark, bonding two anthropophagic exercises: the appropriation ofthe Other's ideas (in this case, her
45 Introdução geral Paulo Herkenhoff