Frederico also knows that the body is a river that makes its way but permanently oscillates because
it is inserted in the world that sees and that gives him back the look through a touch impossible to
define. A touch that can sometimes spread under the skin – that of the body that looks and that of the
images that are looked at. The works he now presents are the potential condensation of this touch,
half-opening the invisible and tumultuous space where visibilities in conflict intertwine and disturb
themselves, developing gestures whose first movement began somewhere in a primitive place. This
is the place of the indomitable desire to see and of the mysterious awareness that one is also seen.
Eros never stops crying.
This desire, which we may call erotic (the sense of gravity with which the river flows), is the one that
Frederico appropriates in certain images to print upon them, and let them be seen by us, the marks
of a body (in this case, his own) that passed through them.
And if we think that the formation of ecchymosis, may be only evidence of an invisibility (engendered
by the touch) to densify from within a body that looks and to externalize itself on the surface of its
skin, these extravasated stains can also be an event in the internal structure of the images and also
on their surface, as a result of a body projecting into them and actively participates in them. These
ghost-marks are part of the history of that body but also of the never finite history of these images.
Bringing them (those that were already concrete images of concrete bodies themselves) from the
universe of pornography, Frederico denies them an eventual association with poor or flat images
which, often, we attribute to them by their excess of visualities, fast consumption and rapid
dissipation, referring them to an apparition under successive veils and coverings. Stains that
translate a process of dilution between the borders of the body that appropriates and the margins of
the bodies-images that are appropriated; a fog that confirms a mutual and indistinct closeness. And
this is time, duration, memory, to assume an intense encounter with beauty, the emergence of the
opacity of the world that is also one of Eros’ enigmas.
José Gil says that the look is done with the whole body. I also say: let us look at Frederico’s images
with the whole body. They ask us this look. And perhaps it is in this moment that the ethic of Eros –
the erotic – can begin again. As the first reason of the image, the most agitated substrate of a body
(now also our own). As the first moment, but also the end, of all aesthetics. So that the cry of Eros
may not be in vain and that all the rivers may continue their course, and may converge in that
inscrutable ocean that welcomes and unifies everyone.
Lisbon, June 2019