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Reading time 3 min

Everyday Beauty

Rosalba Lopes

Until September 28, next Sunday, Inhotim will be taking part in the Museum Spring, a nationwide event promoted by the Brazilian Museum Institute (IBRAM) whose 2014 theme is Creative Museums. Among the attractions in the Institute’s program is the exhibit Beleza Cotidiana [Everyday Beauty]. The intent of this exhibit is to show the relationship Brumadinho residents have established with beauty, inviting visitors to reflect on human sensitivity and its multiple manifestations.

 

Affective bonds and everyday life are also themes present in the images beautifully made by photographer Marcelo Coelho, portraying orchids grown in the homes of Brumadinho residents. In the narratives that make up the exhibit, it is possible to notice a bit of the subjectivity of the city’s residents, whose cultural richness is expressed by its musicians’ artistic sense, as well as by their religiosity and striking rhythms of Congado and Mozambique Guards.  Finally, this can also be seen in the maintenance of rituals that still show the rural heritage that survives in this society rapidly transitioning to urban patterns typical of the contemporary way of life.

 

In flowers and phrases, death, memory, life, celebration and in the importance of caring, an explosion of beauty is revealed, harmonically presented in the expographic project by Esther Mourão (Ticha). Themes and flowers also appear in the diligent work of female artisans from Médio Vale do Paraopeba, whose work uncover a spring built by human hands, as we can see in the floral arrangements in the exhibit.

 

Beleza Cotidiana is also the result of diligent research work carried out at Inhotim, whose purpose is to deepen the knowledge of the region and, thus, propose actions that value the local identity. Only by considering the scope of the group of studies would it be possible to listen to questionings such as the one made by Ângela Magela, orchid grower in Brumadinho: “Beauty is undeniable, isn’t it?”.

 

We invite you to dive into this universe of beauty and sensibility.

Reading time 2 min

The sleeping city

Redação Inhotim

Modernist sculptor Ji?í Lang probably could not imagine that, ten years after his passing, his works created in the Czech Republic during the soviet regime would be shown in Brazil. Although his work was considered promising at the time, the uniformity and control imposed by the government kept his sculptures dormant in his studio, in Prague.

In 2011, his son, Dominik Lang, brought new meaning to the sculptures creating The Sleeping City installation.  Dominik organized his father’s forgotten pieces, fracturing and surrounding them with physical obstacles such as wardrobes, tables, among others. The work displayed at the 54th Venice Biennial can now be seen at Inhotim and suggests questioning on art’s visibility and destiny.

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Dominik Lang grew up seeing his father’s sculptures dormant at his studio.

Since his early creations his has been interested in artistic production and space modification. Dominik Lang often stands between the role of the author and that of the architect, making ephemeral interventions that change the way we perceive objects and places. By choosing his father’s work as his raw material, Dominik creates an unlikely reunion of two generations.

The next time you visit Inhotim, don’t miss out on the opportunity to stop by Galeria Lago and see his work up close.

dominik-lang-sleeping-city
The artist took part in the installation assembly with curator Rodrigo Moura at Galeria Lago, at Inhotim. Photo: Daniela Paoliello
Reading time 3 min

Cloud factory

Equipe de mediadores

Memories, an engine, water and soap.That is how Filipino artist David Medalla created the set of works entitled Bubble Machines. One of them, Cloud-Gates (1965/2013), is now part of Inhotim collection and goes on display at the park tomorrow, September 4.

 

Medalla moved to London in the sixties and founded the Signals Gallery, specialized in kinetic art. As an important name for experimental art, he introduced Brazilian artists such as Lydia Clark, Hélio Oiticica, Mira Schendel and Sérgio de Camargo to the European audience. Marcel Duchamp was enchanted by his work and rendered him an homage in the form of a sculpture entitled Medallic Sculpture.

 

In 1964, the artist created the Sand Machine, and ingenious production in which a motor drives a bamboo to produce random drawings and shapes in a sand box.Shortly thereafter, Medalla used participatory art to start showing his interest in political and social issues.In Stitch in Time (1967), the artist invites the public to freely stitch words and phrases onto a piece of fabric. This way, the public becomes part of the process to create the infinite, and dialogs with experiences that go beyond his own experiences.

 

Also known for his performances, whether telling stories, remembering tales or describing amazing scenes, Medalla will make an unprecedented performance at Inhotim on September 4, opening of the new works, including Cloud-Gates.

 

Medalla refers to his work as being atomic, seeking to reach dimensions that go beyond the boundaries of the work itself, adding value and experiences to be lived and shared by the public.

 

The artist has made the invite.Now all you have to do is plan and check it out in person!Click here and purchase your ticket.

 

 

Text by Renan Ribeiro Zandomenico, Art and Education Mediator and the newest admirer of David Medalla.

 

Reading time 4 min

Naná Vasconcelos in Brumadinho

Redação Inhotim

“The body is the best tool, the rest is a consequence of it”.That is how musician Naná Vasconcelos, one of the greatest percussionists in the world, opened his percussion workshop in the former-slave community of Marinhos, district of Brumadinho, which took place on 08/30. In the afternoon, children and youths taking part in Inhotim’s percussion musical initiation project could talk to the artist and find out new ways to make music.

 

First, the rhythm was marked with the feet. Then, Naná encouraged them all to use their hands, and, finally, their voices. No traditional musical instruments were used.This composition of movements and sounds allowed participants to become aware of their own bodies, as well as to work on respiratory awareness and on the sense of group. Even though the gestures were simple, they carry the strength of Afro-Brazilian musicality, which is a striking feature of the former-slave culture, and are essential to preserve this culture. “Here, in the community, we are born with music being part of us.It is a gift that is passed on generation after generation by the Congado and Mozambique Guards”, says 14-year old Rhayane Estefanie Alves, who took part in the workshop and participates in Inhotim’s percussion project..

 

Rhayane Estefanie Alves, integrante do projeto de percussão do Inhotim. Foto: Rossana Magri
Rhayane Estefanie Alves, participant of Inhotim’s percussion project. Photo: Rossana Magri

No domingo, Naná Vasconcelos abriu a programação de grandes shows do Inhotim em Cena. Acompanhado do multi-instrumentista Lui Coimbra, o percussionista levou o berimbau da capoeira para o centro do palco, nos jardins do Instituto. Em uma mistura de brasilidade e som erudito, planejamento e improvisação, os artistas criaram um repertório singular que emocionou o público. “Percussão é símbolo de vida. Se não tiver percussão, quer dizer, se o coração não bater, não tem vida”, define Naná.

 

Naná Vasconcelos fez show nos jardins do Inhotim no domingo, como parte da programação do Inhotim em Cena. Foto: Daniela Paoliello.
Naná Vasconcelos performed in the gardens of Inhotim on Sunday.  Photo: Daniela Paoliello.

Inhotim em Cena 2014 is supported by the Federal Act for Cultural Incentive, Ministry of Culture. It is brought to you by Pirelli, sponsored by Correios and supported by Saritur. Be sure to check out the upcoming shows of Inhotim em Cena! Click here and see the program.

aqui e veja a programação.

Reading time 5 min

Carroll Dunham’s garden

Redação Inhotim

If you think you can visit the entire park in one single visit, beware that this might not be that easy. To experience all corners of the park, including the galleries and gardens, you currently need, on average, three days.As of next week, the visit will become even more interesting.

 

We will explain: every year Inhotim either changes exhibits in one of the four temporary galleries or opens permanent galleries.In September, the Institute presents new works at Galeria Lago (click here to learn more) and opens its eighteenth space dedicated to a specific artist, this time, it´s North-American artist Carroll Dunham.

 

His first contact with Inhotim curators happened in 2005 – before the park was even opened for visitation. This meeting led to an invitation for Dunham to take his experience at Inhotim as a reference and create something new.

 

Born in New Haven (USA) in 1949, Carroll Dunham’s production started in late 1970s in New York, where he still lives. The influences that marked his work during this trajectory range from expressionism to pop art, passing through surrealism, with a touch of eroticism and cartoon aesthetics.

 

Carroll Dunham, Large Bather (quicksand), 2006-2012.
Carroll Dunham, “Large Bather (quicksand)”, 2006-2012.

The result of this mix was the creation of quite a unique style: scenes in which geometric drawings coexist with organic forms, in which abstraction dialogs with figurative art and the nature-culture duality is revealed with vibrant colors. The representation of the body with strong sexual content is also a striking feature in his production. This can be seen in the series of paintings of bathers, to which the artist dedicated countless canvases since the year 2000.

 

For Inhotim, Dunham has created a series of five paintings entitled Garden [2008]. The paintings were finished in 2008 and will be displayed for the first time now, at an old farmhouse located within the park property. The space has been adapted especially for the exhibit.

Além dos traços pretos característicos que descrevem as figuras, a forma do espiral se tornou um código pictórico no trabalho de Dunham. (Carroll Dunham, Garden 1, 2008. Cortesia Gladstone Gallery, Nova York e Bruxelas. Foto: David Regen)
In addition to the black lines that describe the figures, the spiral shape has become a pictorial code in Dunham’s work. (Carroll Dunham, “Garden 1”, 2008. Courtesy of Gladstone Gallery, New York and Brussels. Photo: David Regen)

Before becoming part of Inhotim’s permanent exhibits, Carroll Dunham’s works have been shown in other institutions renowned in the art scene such as the Museum of Modern Art, in New York, the Musée d´Art Moderne, in Paris, and the Museo Nacional Centro de Arte Reina Sofía, in Madrid.

 

The artist makes no assumptions about the future of art, or even that of painting.When asked about the theme by Blouin Artinfo, he replied: “I have no clue about what lies in the future, but it seems as if people need images”.

 

Plan your visit to Inhotim and visit the works that comprise Garden (2008).