* By Miriam Chnaiderman
the exhibition name Records/Records is significant. It brings records, traces, marks, cracks…
On the body, the marks of scalpels and authorized and even desired violations. So is Nazareth. Your body expresses a world where survival is a categorical imperative. His work is the expression of this life force.
This exhibition accompanied the launch of a book that brings together Nazareth's work and texts that marked his exhibitions. It is an exhibition that carried the story of a lifetime of creation. Or creation as a unique possibility of life.
Successive surgical interventions to correct birth defects were required from birth. In other exhibitions, the marks on the body became striking, seductive works. Dresses constructed with cutting blades and razor razors drive away and fascinate. The game between the impenetrable (clear reference to Hélio Oiticica) and the erotic impossible was a constant theme. The issue of the female body has always been a topic for Nazareth. In the last exhibition, the theme is the mourning of his parents, who died five years ago. The ability to elaborate such atrocious pains through its beautiful production moves.
I wrote the text for the catalog of his 2003 exhibition at Galeria Brito Cimino, when I made the documentary “Gilete Azul”. In this exhibition, an immense curtain of razors and razors surrounded the acrylic bed. Now, in this exhibition, the curtains are made from the X-rays that their parents took during the cancer they each lived through, with very little time difference. It was when the brothers took their mother's ashes to Paris that they learned that their father had advanced symptoms of cancer. Nazareth tells about how she was connected to her father. In the exhibition at the Kogan Amaro gallery, the working instruments of her father – who was a neurologist – become bronze sculptures. A touching tribute where the gestures of a father are eternalized. As in all her exhibitions, here there is also the presence of her body: a sequence of photos accompanying her plastic surgery occupies one of the walls of the gallery. In Nazareth there is a constant rebirth. On another wall, the letter that a Scottish surgeon wrote to his father about what should be done, when Nazareth was still small. A chain is built with the bracelets that Nazareth used on this journey through the doctors. Sensitive soul violated by the necessary interventions, now Nazareth chose to take care of her face. This life force has enchanted me since I met her.
That's what led me to make the documentary “Gilete Azul”.
I bring here a small sampling of the text that is in the book that was released at the Registros/ Records exhibition.:
* Miriam Chnaiderman is a psychoanalyst and filmmaker, produced the documentary Gilete Azul, check it out:
Inventing bodies and/or revealing the erotic in disquieting debauchery: the painful enchantment
It is in our body that we experience the work of Nazareth Pacheco: we are taken by the vertigo of a world that tears us apart, spilling our viscera in bizarre orgasms between pain and ecstasy. It is our body that is exposed to sharp and cutting objects. It is the very notion of the psychic subject that is questioned, the game of mirrors is reversed, we lose ourselves from the gaze that constituted us, we become an exposed wound. Disruptive movement of fields of desire, fading contours, thawing mountains. This is the radical nature of Nazareth Pacheco's work: to establish a body-flesh in the person who looks at her work. And, in doing so, it forces the work of sewing one's own self back together. In that, several selves become possible, several bodies can happen. Nazareth Pacheco works with the issue of jouissance, that jouissance that is barred by desire. This implies breaking down barriers, confronting the limits. The jouissance belongs to the field of what does not fit in the word, what cannot be named. Enjoyment has to do with pure intensity, swirling forces. Enjoyment forces the barrier of the pleasure principle, and therefore questions the interdict. Nazareth Pacheco proposes something beyond desire, an encounter with what is original in eroticism. It transgresses, moving towards an instinctual real. Contemporary libertinism, invention of a language that makes sense and sign coincide. There is no possible metaphor, we are at the level of the real, of the passions of the body. And the real is beyond good and evil. The work of Nazareth Pacheco seeks to de-alienate our image, always constructed from a gaze that looks at us. We are forced to remake ourselves as subjects of our desires.