The project aims to question the human body “colonization” through different and distinct formats and methodologies over the Pier Paolo Pasolini’s film: Salò, or the 120 Days of Sodom (1975). The filmic images that I will take from Umberto Chessari’s body (the actor that plays one of the victim’s role in the film) will resemble a cinematographic casting forcing distinctive and assertive actions, thus being, in this case, that those actions will discuss the relations of power between who is behind the camera and who is in front, who sees and who is being watched. The fact that the body is being looked upon, as product-waste in a slavery environment will act as a starting point for a reflection upon the relations of power and balance established by the retention of images in cinema and contemporary art production. All this process aims to deconstruct the human and material overall general and crystalized ideas and wants to stand out as a reality check on how fragile are all the social and mental constructions, made upon images.


Igor Jesus
Born in 1989. Lives and works in Lisbon. With a degree in Sculpturing by the Fine-Arts Faculty of the University of Lisbon. He held several individual exhibitions: “A Última Carta ao Pai Natal” on Galeria Filomena Soares, Lisbon (2015); “Debaixo do Sol”, on Appleton Square, Lisbon (2015); “Pinóquio”, curated by Susana Pomba, under the Old School project, Lisbon (2014); “Peso Morto”, on Espaço Zero, Tomar (2013). He has participated as well in several collective exhibitions like: “Artists’ Film International”, The Cultural Centre of Belgrade, Belgrade; Video-Forum (n.b.k.), Berlin; GAMeC, Bergamo; Fundacion PRÓA, Buenos Aires; Hanoi/DOCLAB, Hanoi; Para/Site Art Space, Hong Kong; Istanbul Modern, Istanbul; Centre for Contemporary Arts Afghanistan, Kabul; MAAT, Lisbon; Ballroom Marfa, Marfa, Texas; National Centre for Contemporary Arts, Moscow; Project 88, Mumbai; Cinemathèque de Tanger, Tangier; Tromsø Kunstforening, Tromsø, Norway; Museum of ; Modern Art, Warsaw (2016); “Um Horizonte de Proximidades: uma topologia a partir da Colecção António Cachola”, curated by Sérgio Mah, Arquipélago – Centro de Artes Contemporaneas, São Miguel, Açores (2015); “Príncipio Tautológico”, on Hangar - Centro de investigação, Lisbon (2015); “O Lince Não Conhece Fronteiras”, curated by Joana Neves, na Fondation d’Entreprise Ricard, Paris, França (2015); “A Viagem da Sala 53”, curated by João Silvério, on Galeria Baginski, Lisbon (2014); “Bells are still ringing”, curated by Alexandre Melo, on Galeria Graça Brandão, Lisbon (2014); “Aires del Oeste”, on Galeria Rafael Ortiz, Madrid, Spain (2014); “Summer Calling”, on Sala do Veado, Museu Nacional de História Natural, Lisbon (2013); “Ninguém diz nada”, on Quinta da Alagoa, Carcavelos (2013); “Cimento”, curated by Sara Antónia Matos, on Sala do veado, Museu Nacional de História Natural, Lisboa (2012); “Logradouro”, on Espaço Avenida 211, Lisbon (2012). Most recently he has been selected for the Artistic Residency on the Künstlerhaus Bethanien in Berlin, (2016/2017) He was member of the editorial team of the Marte#5 – Os processos da arte magazine.