Ellas, las otras y todas las demás. Mònica Planes

The first time I saw the Sleeping Hermaphrodite, from the distance, it attracted my attention more than the other sculptures with who was sharing room. It seemed a femenine body, laying, backwards. Directly, I approached to her. Different from other classic sculptures, this one has no front either behind. It consists in an asleep figure, in the right moment when her body starts to activate to turn around and change position. Her rotative movement makes you go around her, tracing her action to see her entire and you didn’t reach to understand her until you have round it: the sheet with what is parcially covered has tangled with the foot that, in the movement, that pull her and reveals her body, discovering her genitals that starts lean out at the same time the abdomen it will separates from the floor.

It consists in one of the ‘Sleeping Hermaphrodites’ that are actually preserved, a tipology of sculpture very well valuated in the ancient Rome. The turn that is represented on her and what obligates us to perform around her are the starting point for the pieces that are presented in this exhibition.