A friend, a lover, a one-day stand — none of these categories held.
The body had already decided, years before contact.
When it happened, it did not occur in a private interior but in transit: Rio de Janeiro, Praia da Macumba, in front of the quiosque da Cigana.
We climbed Pedra do Pontal. Before the summit, we stopped — sheltered by stone and shrub — suspended between two views of the sea. The encounter unfolded as contact without audience, bodies synchronizing rather than performing.
What took place there does not belong to pornography as genre. It belongs to what I call post-porn as lived archive: sensation without script, intimacy without consumption, desire without documentation.
He spoke of “vai e vem” not as technique but as state. During this movement, thought dissolves. Cognition pauses. Sensation takes precedence. A zone of coupling emerges — a temporary alignment where pressure, rhythm, and trust converge. No narrative, no projection. Only attunement.
This is not transcendence.
It is suspension.
Post-porn begins precisely here: when desire is no longer forbidden, no longer guilty, no longer shocking — but still unassimilated by art institutions. Pornography has been absorbed by platforms, aesthetics, and markets. What remains unresolved is how intimacy circulates without becoming content.
The phrase “FREE PORN, PORN IS ART” is less a slogan than a provocation: what if pornography has already done its work of exposure, while art has retreated into forms of segregation, selective memory, and institutional amnesia?
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