Homoerotic art is part of that universe of objects that do not immediately gain the approval of viewers, whether from an aesthetic, political, or moral perspective. It portrays subjects uncomfortable for a large audience by addressing themes of gender and male sensuality, positioning the body as a place of desire and pleasure, and also as a social and political representation. Such parameters regarding this artistic modality are represented in this 1º Salão de Arte Homoerótica, which gives visibility to what is hidden behind prejudices and a heteronormative morality.

Here we may find a certain perversity, pornography, and homoerotic voluptuousness, but what matters is that this broad selection is brought to our consideration, appealing to our sensitivity and intelligence with substantial questions about humanity. These are questions that have marked many artists across different eras and continue to be discussed and reflected upon in contemporary times. The artists gathered in this first edition of the Salão — Daniel Jaen, Félix D’eon, Hanz Ronald, Helton Aversa Gutierrez, Paulo Cibella, and Paulo Jorge Gonçalves — bring to light the bodies and desires of men for men. They traverse relevant, and still taboo, aspects of masculinity: prostitution, internet exposure, vanity, transgression, and pornography, among other often disturbing themes.

Homosexuality is still underrepresented in art history, or at least heavily camouflaged, despite the expansion of the sexual revolution extending since the 1960s. While in Antiquity one can find lascivious scenes between Greek and Roman men, in the Middle Ages such representations were banned due to the influence of Catholicism. In the Renaissance, homoeroticism appears, for example, amidst the chiaroscuro of Caravaggio's Narcissus (1571-1610) and in the stunning beauty of Michelangelo's David (1475-1564); both artists suspected of being gay in an era still heavily influenced by the Catholic Church over society and the state. Homoerotic themes only returned strongly in the arts in the 20th Century, especially after World War II, with names ranging from Tom of Finland, Robert Mapplethorpe, Andy Warhol, and Lucian Freud on the international scene, to Brazilians like José Leonílson, Alair Gomes, Alex Valauri, and Hudinilson Jr.

Would it be legitimate to confiscate, censor, or silence a work of art simply because it shocks us or differs from our morality? Canceling is not the solution for coexistence in these times of hyper-communication. We invite everyone to observe, feel, reflect, and engage with the journeys of the six artists in this 1º Salão de Arte Homoerótica. Sexuality is too important an aspect of our lives to keep it hidden in the closet. Through art, we can open doors to more positive acceptance.

IVI BRASIL