Conference proceedings about Julius Evola: eros, magic and the sacred
The book Eros Magia Sacro in Julius Evola is edited by G. de Turris, A. Scarabelli, G. Sessa (Ed. Foundation J. Evola-Pages, Rome 2020). It collects the reports of the participants at the Conference of Studies For an erotic s/correct: 60 years of “Metaphysics of Sex” by Julius Evola, held on November 24, 2018. It gathered in Rome: G. de Turris, V. Conte, A. Meluzzi, P. Giovetti, R. Gasparotti, L. Siniscalco; in Milan: A. Scarabelli, R. Cecchetti, G.A. Pautasso, A. Scianca, G. Lucchin.
In the preamble, the curator Gianfranco De Turris writes: When Metaphysics of sex came out in 1958 published by the esoteric publishing house Atanòr, it was accused of pornography and its author of being “the theorist of the orgy” by Catholics and the more prig right-wing.
In the introduction, Alessandro Meluzzi, the well-known psychiatrist, notes how Evola presented, for the benefit of contemporary man, a theory of eros alternative to gender, by defending male and female sexuality on a spiritual as well as biological basis.
Julius Evola‘s interest in the metaphysical territories of eros and sex, described as the “nature’s greatest magical force”, aroused before the writing of Metaphysics of sex. The importance of this book is also to present to the general public ancient texts and procedures which were ahead for its time and maybe even today little known. Evola tackles the topics with a total and metaphysical reading, overcoming psychological and sexual readings.
Evola according to Vitaldo Conte
Among the essays, the one written by Vitaldo Conte is particular interesting.
In Women’s Nudes he analyzes the paintings that, on this theme, Evola made in the 1960s and 1970s. These works can be read as visual posters of the peculiarities of the feminine in the alchemical experience of the Metaphysics of sex. This production, which is in the margins of the overall landscape of his artistic work, however, contains symptomatic elements of interest, beyond its aesthetic value. The female “figure” emerges, from the previous abstraction, with obvious chromatic allusions and erotic-sexual symbols.
Conte notes that: “To Julius Evola Eros as a word and alchemy is present in the fluid-energy of the gaze of these painted women. The eyes of The Mother of the Universe are surrounded by two cerulean globes (the blue of the waters is transcended into the sky), within a large boundless white triangle, which is amplified by the one obtained from the pubic lines. The waters are a symbol of the female archetype with multiple meanings: undifferentiated life, before the appearance and not yet fixed. Their archaic sign – the turned down triangle– is the same of the Woman and the Goddess or Great Mother, derived from the schematization of the lines of the female pubis and vulva.”