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Reading time 3 min

Where does the Carnival come from?

Redação Inhotim

Not everyone knows, but the Carnival is much older than Dodo and Osmar’s trios elétricos (musical floats used in Brazilian Carnival) in Salvador, Bahia. This popular festival has its origins in celebrations such Saturnalia, when Ancient Rome used to stop everything to celebrate god Saturn. According to mythology, he was the one who taught the practice of agriculture to men, and in these days of celebration that took place in December, friends would treat one another to flowers and typical food of the season.

 

Using this story as a background, people visiting Inhotim during Carnival will be treated to seeds of licuri palm (Syagrus) and butiá (Butia) as a way to thank the public and nature for making the park an unique and transforming place. These species were not chosen by chance. Besides being part of the gardens, they are portrayed in several works by artist Luiz Zerbini, on display at the amor lugar comum (love, a commonplace) exhibit, installed at Galeria Praça since October 2013.

 

The work "Mar do Japão" (2010), by Luiz Zerbini, in exhibition at Galeria Praça.
The work “Mar do Japão” (2010), by Luiz Zerbini, in exhibition at Galeria Praça.

 

As for the work Olê ô picolê (2007) (Here comes the popsicle) , by Marepe (learn more about him here), displayed at Galeria Lago, educators will make interventions focused on popsicle carts that will circulate throughout the park. Visitors will receive clippings about the artist or texts written by him, as an invitation to learn about his work.

 

In addition, children will be invited to prepare Carnival masks with materials that would otherwise be discarded. The actions take place in the park, Saturday (1/3), Tuesday (4/3), from 10h to 12h and 14h to 16h. To learn more click here.

Reading time 4 min

Simply Marepe

Equipe de mediadores

Marcos Reis Peixoto, or simply Marepe, was born in Santo Antônio de Jesus, a small town in the Recôncavo Baiano region.  His works at Inhotim are related to the northeastern cultural identity and to the simplicity of his place of origin, however, these works go way beyond this.  Rather than emphasizing on the drama of social problems, and perhaps even of the draught, Marepe potentiates discussions on the very stigmas created for the northeastern region.

Obra "A Bica" (1999), de Marepe
Obra “A Bica” (1999), de Marepe

A Bica (1999), Cabra (2007) and Olê ô picolé (2007), the three works by the artist currently on display at Inhotim, allow visitors to experience aspects of the everyday life ennobled of meanings, which is common in this work.  Marepe constantly uses materials that are not noble ones such as cardboard, rubber, beer cans and other everyday objects, building matter from ideas, from a form he likes to refer to as intuitive, despite the many influences present.  

Obra "Olê ô picolê" (2007), de Marepe
Obra “Olê ô picolê” (2007), de Marepe

By reutilizing products that gain new meanings when out of context, Marepe is constantly associated with French artist Marcel Duchamp, connected to Dadaism, an avant-garde modernist movement that started in the early 20th century. When conceptual art was decomposed and unfolded into philosophy, information, linguistics, mathematics, autobiography, and social criticism, it left a legacy in art history, and the artist uses this legacy to create works that translate his ideas, experiences and memories.  

Obra "Cabra" (2007), de Marepe
Obra “Cabra” (2007), de Marepe

His works are not appropriations of objects that acquire new symbolism; they are rather confections of objects similar to those used in the everyday lives of many people which, as art pieces, acquire new meanings.  Marepe calls these symbolic recreations nécessaire, while Duchamp refers to them as ready-mades.

 

At the park, Marepe’s simplicity if often perceived with a certain degree of awkwardness.   His works propose a dialog, cultural acknowledgment and reflection on recurring issues in contemporary art, with a Brazilian and northeastern twist at the same time.

 

 

Written by Beatriz Alvarenga, Daniela Rodrigues, Marília Balzani and Pedro Vinícius, Art and Education mediators at Inhotim

 

 

In February, the artistic theme visit proposes reflections on the works of Marepe on display at Inhotim.  Check out the program here.

Reading time 4 min

… so far

Everton Silva

When I started my career at Inhotim in 2006, some of my colleagues had already been helping plant the seed of the project we have today. My story at Inhotim is not that long. For instance, some people have been working here for over 20 years, when the region still housed a village called Inhotim, the birthplace of what would become an international institute, a reference in not only Brazil but also worldwide. Anyway, I also consider myself an important part of this beautiful journey.

 

Since my arrival at Inhotim, things have changed in a wonderful way. Eight years ago the park was not like it is today, but it was already beyond anything I had ever seen. I was born in a former-slave community (known as quilombo) and, when I was 12, I moved to Brumadinho with my grandmother, who had to change jobs. At that time, the institute had a different name, less visibility and only received private schools and some special guests. It was very simple, with a few employees in the education area. Unlike today, there wasn’t one single monitor.

 

I arrived at the institution to take care of the waterfowl and soon became known as the duck boy. I was extremely pleased with my job. But one of the most crucial thing in my life happened at this time: I started my undergraduate studies in History. I confess that, at first, it was a bit tricky due to the cultural shock I experienced. I wasn’t very intimate with studying, after all, in my family I had neither encouragement to do such thing, nor the reference of other family members pursuing a college education.

 

I finished college in 2009 and was transferred, closing a fantastic cycle in my life. I then started working at the Environmental Education Department at Inhotim. As a visitation mediator, what I loved the most was working with the students taking part in the Inhotim Escola program. They were mostly very poor kids, and all they needed in order to have a fantastic day was for someone to look at them, and care for them.

 

The year of 2010 brought a lot of changes. I started law school. I was putting another life project into practice. I was once again transferred, this time into the Department of Inclusion and Citizen Empowerment of the institute, where I still work today. The work my colleagues and I do is not simple, but the achievements are rewarding. I have carried out projects with the Association of Recyclable Materials of Brumadinho (Ascavap), former-slave communities (referred to as quilombola) and with the program Inhotim para Todos (Inhotim for All). Each one of these projects has its own specificities, but they are all rewarding because they work directly on the transformation of the individual as a social being.

 

This is my story at Inhotim, so far.

 

Reading time 6 min

Melodies that lull your dreams

Redação Inhotim

Music to make you dream high. This is what Inhotim’s new music project coordinator, Maestro César Timóteo, keeps in mind when he plans the future.  Son of a pianist mother, César began studying the violin as a child. Today, as a violinist, opera singer and conductor, he seeks to awaken the musicality and talent of each student taking part in the projects he will be in charge of. The Maestro talked to Inhotim’s Blog and told us a little bit about his career and experiences in this new phase of his life.

 

 

 

Blog do Inhotim – Tell us a bit about your career in music.

 

César Timóteo – I can´t single out the exact moment music really got me.  My mother is a pianist and this has influenced me a great deal.  Through her, I was able to be in contact with is fascinating art from a very early age.  I started studying the violin when I was nine, and became a professional violinist in my teenage years.  Later, I also got my Opera Singing Degree, taking part in performances as a soloist in operas and religious plays.  After working as a violinist and singer for several years, I decided to study orchestral conducting, which became my main occupation in music.  I had the opportunity to conduct orchestras in Brazil and abroad, in addition to working with great music professionals, who have significantly influenced me. Some of these them I would like to mention are violinist Max Teppich and Maestro Isaac Karabtchevsky.   

 

 

 BI – What is your opinion on the musical potential of Brumadinho and its residents? 

 

CT – Music is part of the development of all communities. It is a necessity.  Brumadinho is no different. We have to provide opportunities for people to learn it, awakening the musicality within them.   Leaning music, whether by means of a musical instrument or signing, tends to organize and blossom out this musicality, leading to balance, development and the possibility of dreaming higher.  I have no doubt that Brumadinho is filled with music talents, which will certainly be revealed.  

 

 

BI – Which projects are you going to be coordinating? Talk a bit more about each one of them.

 

CT – Youth, Adult and Kid’s Choirs and the School for Strings. These projects are carried out by Inhotim, sponsored by Vale do Rio Doce and are part of an initiative of the Department of Culture.  In 2014, we are going to work in a more unified way, with a team of guest teachers from Belo Horizonte. These projects are intended to promote social, musical and artistic development in communities located at Vale Médio do Paraopeba, which includes youngsters from Brumadinho, Mario Campos and Bonfim.  Most of the students come from the public school system and, with the projects, they have the opportunity to take free theoretical and practical lessons.

 

 Classes take place on a weekly basis and the students enrolled are able to study vocal technique and music theory, in addition to practice instruments such as:  violin, viola, cello and bass.  During choir and orchestra practices, students are able to experience music as part of a group, developing their harmonic perception and cooperative work.  Enrollment happens twice a year and those interested in participating must apply at the project headquarter in Brumadinho. 

 

 

BI – In 2014, what’s new when it comes to the projects developed by Inhotim?

 

CT – We are going to work to unify music-related social projects, considering a nationwide reach.  It is important to consolidate actions in Brumadinho and surrounding areas, so that some time from now we can also reach other towns.  We are going to value joint actions.  The music experience must happen in a less individual and more collective way.  We are also going to  purchase two new pianos to be used in choir activities, as well as in musical perception classes. Also, we will be able to rely on new facilities in Brumadinho, which will be larger and more suitable for classes and rehearsals. 

 

 

BI – What are your expectations for this new journey with the students taking part in the projects?

 

CT – I want to closely monitor the development of each student. It is important to know them, so that we can guide them in the right direction.  I hope to see their musical growth, to see them dreaming with new possibilities.   Art does that.  I hope music learning and musical practice will influence the human development of students as well as of Brumadinho community.  I hope this can bring a positive effect to their decisions and attitudes, promoting better quality of life and improving the way they live in society.

Reading time 4 min

Nature reborns

Redação Inhotim

Forest waste. It is this refined name that ironically defines designer Hugo França’s favorite raw material. Since the late 1980s, he has transformed wood discarded by traditional furniture companies or just naturally condemned into benches, chairs, tables, cupboards, shelves and adornments, referred to as movable sculptures. Among the 1,000 pieces produced so far, 98 are at Inhotim, where you can find the largest collection of works by the designer.

 

It is impossible to walk through the park without noticing these amazing structures with sustainable appeal. Rustic, yet very cozy, they invite visitors to take a break, either to rest, contemplate nature or reflect on any of 170 works of art on display. Long-time partner, Hugo França installed his first work in the garden in the 1990s, even before the the Institute was fouded in 2006. Under the shadow of the Tamboril, ancient tree that is now one of the symbols of the park, he placed a huge bench, recently replaced by a larger one, also by the designer.

 

The story of Hugo França with wood pieces begins almost three decades ago. Eager for a new lifestyle, he moved to Trancoso/Bahia, where he lived for 15 years. There he discovered the Pequi-Vinagreiro, common tree in the Atlantic Forest in Bahia, but hardly useful in the usual woodworking for being very irregular. He began to avail unearthed roots, hollow logs, branches and whatever else he found to create unique pieces that value the natural textures and shapes of these plants otherwise rejected.

 

Banco Hugo França

Rustic, yet very cozy, the benches invite visitors to take a break l Photo: Rossana Magri

 

 

Not without reason, the first cuts are made where the wood is found. Some blocks may weigh over a ton and need to be divided for transportation. Still in the woods, the pieces begin to look like benches and tables and are finished in one of Hugo França’s workshops. From there, his sculptures are sent all over the world.

 

Besides being part of private collections such as Inhotim’s, his work has been featured in a long list of institutions such as the MAD Museum in New York, the Tomie Ohtake Institute in São Paulo, the Art Rio in Rio de Janeiro and currently the Fairchild Tropical Botanic Garden, a botanical garden located in Miami, United States. Until May 2014, visitors will see 25 movable sculptures of the artist, whosesensitive eye is capable of bringing life back to nature.

 

Recently,  Crane TV made a video about Hugo Franças’s work. Check it Out: