Hélice how the dynamics of color and shape relationships in space, including the viewer as a participant. The manual touch provides the dynamics of the work: the shape expands, and the color dematerializes and pulsates in the air.

Newspapers whose denominations are somehow absolutes, such as Le Monde (The World) and El País (The Country), are covered by a blanket of lead that allows for only a glimpse of their titles, blocking any proper reading. Lead, by virtue of progressive applications of atomic energy, has become increasingly important as shielding against radiation thanks to its excellent corrosion resistance. The material is, however, extremely toxic to the human body. Komatsu’s lead blanket thus both protects us from the power of the media and contaminates us at the same time.

These pictorial works form part of an extensive installation entitled “Gordas” (Fat Women), 2002-2005, which focuses on the female body and the environment that defines it. Sculptures, video, neon lights, recycled objects, dietary recipe-books and even medical recommendations have shaped the different versions of this exhibition. For Tania Candiani, the theme of slenderness lies at the heart of her ideas, although she departs from the opposite extreme, that of corpulence and the tortuous methods that are employed to achieve the figure that is desired. Fashion magazines, television programs, clinics specializing in reducing size, medical treatments, pills and the leading role that gymnasiums have acquired in the contemporary city environment, all define the psyche of the new female ego and the cultural conception that Candiani analyzes.

Edgard takes his “imprecise” scribbles – as seen in his recent solo show – and inverts them into a combined construction using cotton thread on linen surfaces. In the current show, the “action drawing” is taken in a different way by creating friction between the spontaneous and the planned construction. The embroideries can be as erratic as scribbles – or punctual – as if they formed infections on the fabric. In both cases, they have in common the evidencing of the volume constructed from accumulation of material forming protuberances and thus breaking the bi-dimensional.

In Tentativa de apagar o cotidiano [Attempting to erase the quotidian], artist Marcelo Cidade (1979) establishes a daily practice of painting on local newspapers. The artist seeks to erase the news and images of the periodicals, leaving in evidence geometric traces. Lines of different colors, sizes and shapes emerge, and graphics lose their original function by arranging themselves in new patterns.

The surge of life drive embedded in everyday objects is a constant in Edgard de Souza’s oeuvre and becomes evident in the series of sculpted wooden spoons the artist presents in the exhibition. These apparently trivial objects, now endowed with impulses and desires, were meticulously sculpted from rare wood logs of mahogany and jacaranda from Bahia. In Colher lambe colher / Spoon licks spoon the wood comes to life through human features, and as a couple, the two spoons serve each other voluptuously. In Colher de pau – cara de pau (pinoquio) / Wooden Spoon – stick face (pinocchio) the utensil becomes as malicious as the character of Carlo Collodi – the lying spoon has its nose stretched out. Colher de pau – cara de pau / Wooden spoon – stick face is cheeky and sticks its tongue to the observer.

These pictorial works form part of an extensive installation entitled “Gordas” (Fat Women), 2002-2005, which focuses on the female body and the environment that defines it. Sculptures, video, neon lights, recycled objects, dietary recipe-books and even medical recommendations have shaped the different versions of this exhibition. For Tania Candiani, the theme of slenderness lies at the heart of her ideas, although she departs from the opposite extreme, that of corpulence and the tortuous methods that are employed to achieve the figure that is desired. Fashion magazines, television programs, clinics specializing in reducing size, medical treatments, pills and the leading role that gymnasiums have acquired in the contemporary city environment, all define the psyche of the new female ego and the cultural conception that Candiani analyzes.