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Reading time 6 min

Inhotim or Shangri-La

Ignácio de Loyola Brandão

When I saw that gigantic machine, strangling a tree with its dinosaur-like claws, placed by Mathew Barney in the middle of a dome, I had two insights.  The first one was: here is the cover for my novel And Still the Earth, one of my most successful books, which shows Brazil without trees, without water, heated and increasingly getting warmer, São Paulo paralyzed by massive traffic jams, violence reigning.  One day I will ask for permission to use this work, Lama Lamina (2009), in the next editions. It is a symbol of present times.  

 

It was one of the (many) things that impressed me when I went to Inhotim.  Our time is reflected there. And when I looked up and saw the machine, I saw myself, I saw the dense vegetation that surrounds each pavilion and I saw everything reflected a thousand times by the geodesic dome.  I remembered an interesting period in my life, when I was the editor for the Planeta magazine. Back then, the publication broke boundaries by talking about the future, extraterrestrial worlds, parallel universes, the power of thought, primitive civilizations that were more developed than current ones, unusual scientific findings.  Planeta was the first non-specialized magazine to mention Buckminster Fuller’s Geodesic Dome, intended to “protect” houses or cities.  Today, we might need geodesic domes to protect ourselves from the polluted atmosphere, which we have deconstructed.

 

I thought: Is this art? What is art? My answer to that is deeply personal.  Everything which is beautiful (or terrible), which impresses me, makes me think, changes me.  Is Munch’s The Scream by any chance beautiful, soft? No. And yet, we are enchanted by it because that is us screaming; we understand the reason for it, the affliction present.  Thus, with a completely open mind, I strolled around Inhotim.  Actually, the very first question I asked was the reason for this undefinable name. In the old days, when this land was still a farm, there was an American man called Timothy here.  A hard name for farm workers to pronounce, they shortened it to Tim, and added our very Brazilian “Nhô” (sir).  Nhô Tim. From that to Inhotim was a short leap.

 

I went all over the world as a journalist and writer.  I have never been to any place like this. I have never read about anything similar to this place.  I have to admit that, from a distance, it is hard to fully grasp what Inhotim is.  It is pioneering, audacious, utopic.  Is it a museum? It is and it is not. Is it a gallery? It is and it is not. So, what is it then:  a park for the contemporary arts.  What about those who do not like contemporary art? Visit it. It might reaffirm your opinion, it might change it.  But there is not the slightest chance you will be immune to it. I almost wrote unpunished instead. You will question yourself, surrender to a lot, repel.  There is a trick (I wonder if it is subliminal).  The moment you leave one of the many spaces, you make peace with the world, with life, with everything, involved by the vegetation of one of the most beautiful parks known to us. If all the feelings (shock, joy, disgust, whatever it might be) a certain work of art awakens in you are kept, be happy, you have been changed, metamorphosed.  And you will take Inhotim with you forever.  

 

Get organized when you arrive there. Talk to the monitors (I don’t even know if this is how they call them there), get the brochures.  What do I want to see? Helio Oiticica, Chris Burden, Adriana Varejão, Miguel Rio Branco (I insist, don’t miss out on Miguel), Cildo Meireles (ask yourself: what does he want with this red?), Tunga, and so on, for there are many creators.

 

I advise you to walk, the air is fresh, there is sunlight and shaded areas, time is paralyzed.  As you get tired, look for one of the tree-trunk benches made from Pequi Vinagreiro, sit down, let the vibes brought by a century-old tree involve you.   In the air, multicolored butterflies.  And the lakes, water mirrors, all blue, where the park reflects itself, for it is Narcissus.  Final word of advice, one day there is good. But why not take two days to see everything, revisit some things, isolate yourself from this senseless world?  Just like Swift imagined Lilliput, James Hilton idealized Shangri-La, J.M Brarie founded Neverland (Peter Pan) and L. Frank Baum found Oz, Monteiro Lobato built the Sítio do Pica Pau Amarelo, Bernardo Paz created Inhotim, our exacerbated imagination. 

Reading time 2 min

Marcius Galan and Space

Redação Inhotim

“Space is a recurring subject in my work and it is dealt with in very distinct ways.  I propose exercises that range from installations, in which the spectator’s perception is tested and the idea of accuracy in space representations is often destroyed (maps, blueprints, etc.), to even trivial relations with everyday spaces being filled bureaucratically. These are different levels of activity, yet treated with the same intensity.”

 

Marcius Galan on how he relates to the word space.

 

 

With two of his works on display at Inhotim, the artist is one of the participants in the Space, Work and History Seminar.  The event will take place on May 23 and 24, at Museu Histórico Abílio Barreto and admission is free of charge.  Check out the detailed program here. 

 

Watch the following videos and learn a bit more about Marcius Galan and his work:

 

 

Reading time 4 min

Encouraging transformation

Raquel Novais

Being at Inhotim provokes different experiences, for it is a multiple, transforming, restless place, in addition to being what has become commonplace, an extremely beautiful place.  The gardens and the unique way works of art are displayed at Inhotim are articulated in such a way that each visit is a whole new experience.  

 

Beyond contemplation and the feelings related to such contemplation, Inhotim shows aspects that are often unknown to the hundreds of thousands visitors that go there each year.  One of these aspects regards the impact in the lives of those who live in the city that generously houses Inhotim.  The decision of founder Bernardo Paz to maintain and incorporate the name of the old village, where the gardens sheltered the first works of art, shows the desire of not becoming separated from the history of the place.  The initial awkwardness the name provoked in the general public was quickly overcome and, today, mentioning “Inhotim” does not required so many explanations.

 

Having become the greatest private employer in the city, with 1,300 employees – 80% of which come from Brumadinho and region – and representing the first job of over 400 youngsters in the city bring Inhotim closer to the public and private lives of thousands of Brumadinho-born citizens.  There is also another direct connection between Inhotim and the city, which takes place with the mobilization of the art and botanical collections in social and educational projects.  These projects present children, youngsters and adult with essential issues related to contemporaneity, formulated based on the contact with what is most relevant in the contemporary art scene, as well as on a global agenda related to biodiversity and even to the future of the planet.

 

If these initiatives weren´t enough, as of this month, the Our Inhotim program is granting a 50% discount to all Brumadinho residents who have lived in the municipality for over three years.  This initiative is an additional encouragement for locals to visit and take ownership of this place, which attracts visitors from all over the world.  Having a cultural facility such as Inhotim is an invaluable gain for the city.  Having Brumadinho residents more and more visiting the park and strolling around gardens and galleries is the fulfillment of the Institute’s main objective:  to be a transforming place, which inspires a new way of life.

 

 –

 

Our Inhotim Program:

People entitled to the 50% discount: Residents of the municipality of Brumadinho living in the region for over three years;

Registration: On Wednesdays, from 2 pm to 4 pm, at the park reception.  Starts on May 7;

Documents required: ID Card (or the like) and proof of residence;

A card will be issued for those taking part in the program, which must be shown whenever the participant visits Inhotim.

More information: +55 (31) 3571-9700

 

Reading time 3 min

Contrasts of time

Equipe de mediadores

How long does an invitation, a proposal, last?  During the month of May, the art guided tours at Inhotim address still life and its relationship with time.  The acknowledgment of time as a necessary condition for the existence of life has motivated several artists to risk the possibility of putting a stop to it.  They tend to capture the instant, or even make time go by as if it were in slow motion, in which case it is possible to observe details of the transformation of something new based on what had existed, but no longer does.  

 

One of the videos in the Natureza-Morta exhibit, at Galeria Fonte, is 10:51 (2009), by Argentinean artist Jorge Macchi.   In this work, a clock projected onto the line between the wall and the ceiling causes us to observe how the experience with space conditions and is conditioned by our relationship with the passage of time.  Have you stopped to think about how you get organized and is controlled by a clock hanging on your wall at home, on the street, at work or even attached to your wrist?

 

Another piece of work that establishes a deep dialog with the idea of time (de)composing is Ahora juguemos a desaparecer II (2002), by Cuban artist Carlos Garaicoa. In this work, the video-installation shows an ongoing experiment, in which famous pieces of architecture are set on fire, trigging a number of possible discussions that range from the emergence of new social orders to the suffering of ancient cultures.  Often the social condition of different times and cultures builds unique perceptions of time, which happens through the observation of nature or is materialized in artifacts, from the sun clock to the work of art, for instance.

Detalhe da obra "Ahora juguemos a desaparecer II" (2002), do artista Carlos Garaicoa. Foto: Daniela Paoliello
Detail of the work “Ahora juguemos a desaparecer II” (2002), by Carlos Garaicoa. Photo: Daniela Paoliello

What does being part of time, belonging to time, mean?

 

Written by Alison Loureiro, art-educator at Inhotim

Reading time 8 min

Space, Work and History Seminar

Redação Inhotim

Discuss contemporary issues and their connection to Inhotim’s universe.  This is the proposal of the Space, Work and History Seminar, help by Inhotim Escola on May 23 and 24, in Belo Horizonte.  During the event, three panels will gather artists, thinkers and three important names in the Institute’s collection:  Adriana Varejão, Marilá Dardot and Marcius Galan.

 

“Our idea is to promote a creative space to discuss some issues that seem to be key in contemporary art as well as in the work carried out at Inhotim, which are also important for our time in general.  The focus of the seminar is not academic or strictly theoretical. We intend to bring subjective, sensitive approaches, together with criticism based on the work and actions of each one”, explain curator Júlia Rebouças, in charge of the program.

 

Each panel will be composed of three guests: one theorist, one artist whose work is present in the Institute’s collection and one artist of a different discipline. Curator Júlia Rebouças and Inhotim’s art and cultural program director Rodrigo Moura will mediate the discussions.  The event will follow the Nature, Time and Poetry seminar held in the launching of Inhotim Escola in 2013. Check out the detailed program:

 

Space Panel

May 23, 7:30 PM

Mediator: Júlia Rebouças

Guests:

Marcius Galan is majored in Art Education at FAAP and took part in residence programs at Cité des Arts, in Paris, and at the Art Institute of Chicago. He won the 2012 PIPA award, which took him to the Gasworks Residence Program.  Two of his works are on display at Inhotim:  Seção Diagonal (2008) and Imóvel/Instável (2011), which establish dialogs about sculpture, illusion and space perception.

Seção Diagonal
“Seção Diagonal” (2008), by Marcius Galan, in exhibition at Galeria Mata. Photo: Pedro Motta

Fernando de Mello Franco is a professor and took his Ph.D. in Architecture at USP (Universidade de São Paulo).  He was part of the curators committee responsible for Rotterdam and Venice biennials and is currently the Secretary of Human Development for the municipality of São Paulo. In this panel, he will talk about the city as an urban space and its challenges.

 

Grace Passô is an actress, director and playwright. In 2004, she was one of the founders of Grupo Espanca!, from the state of Minas Gerais. She currently directs the play “O Contrato”, with Grupo 3’s actresses Yara de Novaes and Débora Falabellla. In the  Seminar, Grace will talk about the body in relation to space and its place on stage.

 

Work Panel

May 24, 10:30 AM

Mediator: Rodrigo Moura

Guests:

Marilá Dardot was born in the state of Minas Gerais, in Belo Horizonte.  She is majored in Social Communications at UFMG, and took her M.A. in Visual Languages at the UFRJ School of Fine Arts.  A Origem da Obra de Arte (2002), permanently on display at Inhotim, proposes a reflection on the construction of works of art. At Inhotim Escola, the artist addresses these and other issues related to her work, such as techniques and tools used to create it.

"A Origem da Obra de Arte" (2002), de Marilá Dardot. Foto: Pedro Motta
“A Origem da Obra de Arte” (2002), by Marilá Dardot. Photo: Pedro Motta

Peter Pál Pelbart is a philosopher, essayist and professor.  He was born in Budapest, Hungary, but lives in São Paulo, where he coordinates Companhia Teatral Ueinzz, formed by psychiatric patients from A Casa, a partial hospitalization facility.  Interested in studying the work of Gilles Deleuze, he helps discuss work’s role in society.

 

Francisco Alvim is a poet and diplomat. Influenced by his sister, poet Maria Ângela Alvim, he stated writing when he was still a teenager. Sol dos Cegos, his first book, was released in 1968. After spending some time in Paris working for Unesco, Alvim returned to Brazil and joined the Frenesi literary group, which was active in mimeographed poetry in the 1970. In this event, he will talk about the work of a writer and the craft of writing.

 

History Panel

May 24, 2:30 PM

Mediator: Júlia Rebouças

Guests:

Adriana Varejão was born in Rio de Janeiro and chose painting as the main support for her production.  Her first exhibit was in 1988 at Galeria Thomas Cohn, in Rio de Janeiro.  In her works on display at Inhotim, you can track the diversity of interests in her work and the array of sources of research.  Through painting, sculptures and installations, the artist has discussed Brazilian history and, above all, how the Brazilian people was forged.

"Celacanto Provoca Maremoto" (2004-2008), de Adriana Varejão. Foto: Ricardo Mallaco
“Celacanto Provoca Maremoto” (2004-2008), by Adriana Varejão. Photo: Ricardo Mallaco

Norma Côrtes is a historian majored at PUC Rio, with a post-doctorate in Culture History by USP.  She is a professor at UFRJ and works with Social and Cultural History, investigating, among others, the way historical phenomena are comprehended.  In this panel, she will help establish the counterpoint between hegemonic and marginalized narratives of past happenings.  

 

Eduardo Moreira was born in Rio de Janeiro and moved to Belo Horizonte at age 13.  Playwright and founder of Grupo Galpão, he has also taken part in all of the group’s plays as an actor.  In cinema, he has acted in national productions such as O ano que meus Pais saíram de férias (2006) and  Bastismo de Sangue (2007). At Inhotim Escola, he talks about history as a “story” and its fictional narratives.

 

 Plan Ahead!

Inhotim School presents the Seminary Space, Work and History.

Date and time: May 23, panel at 7:30 PM; May 24, panels at 10:30 AM and 2:30 PM

Location:  Museu Histórico Abílio Barreto Auditorium – Avenida Prudente de Morais, 202 – Cidade Jardim

Admission Fee:  Free, by order of arrival. Capacity: 100 seats.

 Update: The panel “History”, that was supposed to happen on 24th in the afternoon has been canceled and will be rescheduled soon.