The Brazilian Contemporary Art exhibition "One and/among Other/s" is divided in two axes that extend and run parallel in the second floor of the Biennial Pavilion. Although there is a structural distinction -conceptual and architectural- between those axes, there have several crossings (even beyond those the curators could indicate). The exhibition doesn't define totalizing and final paradigms for thinking the Brazilian art as a whole; it doesn't want to precise a general panorama or a cast of elects, but one among many other possible organizations, and conceptual cut-outs of the contemporary production. The exhibition includes original works and others previously displayed; some artists exhibit fewer works than others. All of them, however, were fundamental pieces in building and crossing the conceptual paths the curatorship attempted to trace. We hope the visitors-spectators may find and discover their own paths.

The axis, that of "One and other", more psychoanalytic and subjective, although not exempt of social and political implications, departs from the cannibalistic theme of love fusion. In love fusion, the two passionate lovers desire to incorporate, to melt into each other, to become one. The fear of losing the other may incite in a lover the desire to ingest and consume the other -perhaps that could explain some voracious kisses and bites-, the desire for each other's corporal fluids. Unhappily, the fusion is an utopian desire, faded to frustration, non-accomplishment - penetration is as close to it as lovers arrive.

>From the fusion (of love, by Daniel Senise, Leonilson, Edgard de Souza; and of the elements, by José Resende) emerges the theme of mirrors (Cildo Meireles, Iole de Freitas, Lygia Clark, Leonilson), of the double and symmetry (Edgard, Leonilson, Tunga, Senise, Valeska Soares). Departing from them, emerge the sectioned body and the body's sections (Adriana Varejão, Miguel Rio Branco, Nazareth Pacheco), meat, skin, scar (Artur Barrio, Ernesto Neto, Sandra Cinto, Rosângela Rennó, Leonilson, Courtney Smith, Adriana). The subsequent themes are birth, shelter, invagination, the mother-ship (Edgar, Ernesto, Rivane Neuschwander). The theme concepts are constantly crossing and intertwining; the open and flowing architecture wants to suggest connections, to underline the correlation of works.

Adriano Pedrosa