ABSTRACT
Inaugurated in 1940, and extensively renovated for the 2014 Olympics, the Estadio de Pacaembu, located in the middle-class neighborhood of Consolacao, in central Sao Paulo, was originally meant to promote the social-nationalistic programs of the Getulio Vargas government. One of the major photographers who has focused his energies on soccer at the Pacaembu stadium, thereby contributing to its perception as a significant institution of Sao Paulo's urban history, is Thomaz Farkas also himself a foreign-born immigrant. Farkas's photography, exclusively in black and white, is marked by the sociocultural phenomenon of homosociality. "Homosociality" has become rather a trendy term, and the author emphasizes that he used it here neither as a euphemism or a code word for homosexuality, even though homosexuality may be viewed as a form of a homosociality or as one of its enactments. On the other hand, homosociality may be viewed as a gateway opportunity to extended same-sex bondings, such as homoaffectivity and homoeroticism.
