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Me Too, Galatée
In Ovid’s Metamorphoses, Pygmalion, the sculptor who is convinced that women are evil, prefers Galatea, his own creation that Aphrodite, the goddess of love, brings to life. Pol Pi’s piece draws from this narcissistic passion for a female artefact to convey its symbolic violence. Pi, a trans artist, displays a gender-neutral body who slowly turns into a fake female form made of fruity prosthetics. Between grotesque humor and remarkably subtle suggestions, his moving tableaux borrow from classical images of the myth and iconic figures of feminist activism. His reading of the Pygmalion story is even more meaningful and eloquently charged because it was created at the end of 2018, at the time of the election of notorious misogynist Jair Bolsonarowho openly despises artists, indigenous populations and the LGBTQ+ community. With this additional political dimension, along with the allegory of art and male domination, the performance sheds new light on the ways female bodies are formatted by patriarchal diktats.
Source: programme of the CND
