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  • Setembro, 01. 2014

    Inhotim press room


    artbrumadinhocommunitycultural programmingeducacionmusicpartnershipprojeto

    Leitura: 4 min

    Naná Vasconcelos in Brumadinho

    Naná Vasconcelos in Brumadinho

    “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.

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    Agosto, 26. 2014

    Inhotim press room


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    Leitura: 5 min

    Carroll Dunham’s garden

    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).

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    Agosto, 20. 2014

    Inhotim press room


    artcultural programminginauguraçãovisit

    Leitura: 4 min

    New exhibitions at Inhotim

    As of September 4, those visiting Inhotim will be able to see several new artworks. Artists from Eastern Europe, Asia and the United States propose a new look towards contemporary art production.

    According to Rodrigo Moura, art and cultural program director for the Institute, in the past 10 years interest for art from Latin America and other regions outside hegemonic production centers has increased worldwide. “This movement is very much related to a perspective of narrative decentralization. Considering this context, we understand that the role of a space such as Inhotim is not only to collect renowned names, but also to introduce others, less known here”, he says.

    A new permanent gallery, the eighteenth in the Institute, will be dedicated to North-American painter Carroll Dunham. This gallery will shelter a series of paintings entitled Garden (2008), which comprises five works that reflect the artist’s impressions about Inhotim.

    carroll

    One of the paintings in the “Garden” series (2008), by Carroll Dunham. Courtesy of Gladstone Gallery, New York and Brussels. Photo: David Regen

    Galeria Lago, one of the four spaces that hold temporary exhibits at Inhotim, will receive works by three different artists. Romanian Geta Br?tescu, considered a type of Eastern Europe Louise Bourgeois, will have a major individual display of her production, with works made between 1986 and 2013 and entitled The garden and other myths.

    geta

    “Medea Hypostases III” (1980), by Geta Br?tescu. Courtesy of the artist and Ivan Gallery, Romania. Photo: Stefan Sava

    Dominik Lang, from the Czech Republic, presents Sleeping City (2011), an installation composed of bronze sculptures created by the artist’s father. Amid iron and wooden sculptures, the pieces acquire new meanings.

    Domink

    “Sleeping City” (2011), by Dominik Lang. Photo: Ondrej Polak

    Filipino artist David Medalla will present the work Cloud-Gates (1965/2013) from the Bubble Machines series – kinetic sculpture formed by foam and first created by the artist in the 1960s.

    medalla

    “Cloud-Gates Bubble Machine” (1963-2013), by David Medalla. Courtesy of Baró Galeria. PR Photo

    To celebrate the opening of new projects, musicians Jards Macalé and Jorge Mautner will be on the Inhotim em Cena stage for a special performance. Musical partners and longtime friends, the two artists will replay Brazilian popular music hits and promise to surprise the audience. The concert starts at 3 p.m., near the Magic Square.

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    Agosto, 12. 2014

    Inhotim press room


    artcultural programmingdança

    Leitura: 2 min

    Contemporary dance in the gardens

    Contemporary dance in the gardens

    In 2013, Cia. de Dança Palácio das Artes occupied Inhotim performing Se eu pudesse entrar na sua vida [If I could get into your life]. The experience was so successful that in 2014 Inhotim renewed the partnership with the company, this time to create a performance directly related to the Institute’s collections. This is how Gestos Ordinários / Coleção CDPA [Ordinary Gestures] came to pass, the first choreography commissioned by Inhotim, which will be presented August 15, 16 and 17, at 2:30 p.m. in the park’s gardens.

    An essential point of the creative work for the intervention was to think whether it would be possible to build a choreography based on the movements people make in their everyday lives, such as sitting, kissing or hugging. “An action, such as raising your arms, done in different ways is not the same action”, reflects choreographer Dani Lima, director of the project, carried out in partnership with Cia. de Dança Palácio das Artes. The result of the group’s investigations was an inventory of gestures that dialog with ideas present in all museums, such as collectionism, cataloguing and memory, and can be taken to other spaces other than Inhotim.

    Feel like watching Gestos Ordinários | Coleção CDPA? Then purchase your ticket to Inhotim here. The show is free for visitors and is part of Inhotim em Cena 2014 program, presented by  Pirelli, sponsored by Correios with the support of Saritur.

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    Julho, 16. 2014

    Inhotim press room


    artexhibition

    Leitura: 7 min

    Another look towards art history

    Another look towards art history

    Since June 27, Rio de Janeiro has witnessed the greatest international exhibit the city has ever seen. Organized by curators Rodrigo Moura, director of art and cultural programs at Inhotim, and Adriano Pedrosa, the artevida exhibit [literally, art&life] aims to tell the history of art based on references not found in major cultural centers. The exhibit features about 300 works of art by 110 artists from South America, Western Europe, the Middle East, Africa and Asia. Some of them, such as Brazilian artists Lygia Pape, Hélio Oiticica and Cildo Meireles, can also be seen at Inhotim.

    The name of the exhibit was not chosen by chance. For the neoconcretist movement that first appeared in Rio de Janeiro in the 1950s, art should establish dialogs and tensions related to aspects of life and of the world. This attitude was essential to form Brazilian contemporary art. On display at Casa França-Brasil, Parque Estadual Library and Parque Lage, the exhibit also expands to MAM Rio (Museum of Modern Art), starting this coming Saturday, July 19, with the opening of its second segment. Inhotim’s Blog talked to artevida curators, who told us a little bit more about the project. Read more below!

     

    Inhotim’s Blog – The exhibit gathers countries in the Southern Hemisphere to offer another look towards the history of art. How did this idea come about?

    Adriano Pedrosa and Rodrigo Moura – The research regarding the artists has been happening throughout the past several years. Many of the foreign and Brazilian artists are professionals we have worked with before. The sets and subsets of works were chosen based on knowledge and reflection on these works, but, above all, considering Brazilian perspectives. Thus, the section artevida (body), at Casa França-Brasil, has clusters of Brazilian and foreign works based on Bicho, Linha orgânica (both by Lygia Clark), on Tecelar (by Lygia Clark), on Parangolé (by Hélio Oiticica), generating close relationships that revisit the orthodox geometric abstraction, suggesting an organic and body-conscious form of thinking about the object and emphasizing the body as an activator of the artistic experience. On the other hand, in the section artevida (politics), thematic clusters are related to dictatorship regimes, war, violence, elections, censorship, demonstrations, work, feminism, racism, and seek this parallel between contexts which apparently are not connected, but that bear some kind of relationship with the Brazilian people.

    IB – How do the works chosen relate to hegemonic narratives in contemporary art?

    AP and RM – The exhibit looks towards the Brazilian production as a matrix and filter, so as to consider broader, more global relationships between different artistic contexts. We have prioritized this dialog with production hubs which are somehow closer to us, either because they share with us a colonial and post-colonial history, or recent history of authoritarian regimes, or, simply, because they are far from hegemonic production centers. There is a desire to untie an affiliation model that always goes through the center so that production can be legitimized. This doesn’t mean we deny our relationship with Eastern Europe and the United States at all.Actually, there are some artists from these regions present in the exhibit. What we propose are new dialogs, which have not yet taken place. If, in the first part, which we opened at Casa França-Brasil last month, this dialog happens by way of the body, whether through geometry or self-portraits, in the section that opens next Saturday at MAM Rio, this dialog happens through politics. This doesn’t mean an evolution in time, but rather a difference, a modulation of the curatorial framework.

    IB – Some of the names featured in the exhibit are present in Inhotim’s collection, such as Hélio Oiticica, Geta Bratescu and Hitoshi Nomura. How does the Institute’s collection dialog with this proposal to see art history from another angle?

    RM – It seems to me, this dialog happens in a very important way. As we mention in artevida’s curatorial statement, this is not an exhibit of a thesis, but of many hypotheses. This polyphonic representation is something I learned working in the formation of the collection, when this happens all the time. The artists you’ve mentioned have a very important place at Inhotim, precisely because they found such fertile soil when it comes to dialogs with Brazilian artists, they are central to building a narrative of what Inhotim represents as art: Lygia Pape, Cildo Meireles and Hélio Oiticica, for instance, are represented with such important works in our collection. At Inhotim, we’ve recently delved into areas we just knew superficially before, such as Western Europe and Japan, which have not yet been completely revealed, but that start to appear in exhibits at the Institute. This is the case of the individual exhibit by Romanian artist Geta Bratescu, at Galeria Lago as of September, and Do Objeto ao Mundo – Coleção Inhotim, at Palácio das Artes in December and at Itáu Cultural next year. In these exhibits, we are going to show quite a lot of Japanese material that have great resonance with the art produced in Brazil in the same period.

    Interested? Then plan to visit artevida!The exhibit will be open until September 21, 2014.

    Rodrigo Moura e Adriano Pedrosa

    Rodrigo Moura (left) and Adriano Pedrosa (right) at Parque Lage, where part of the exhibition takes place. Photo: Leo Aversa

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