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  • Maio, 08. 2014

    Inhotim press room


    artcultural programmingeducacioninhotim school

    Leitura: 2 min

    Marcius Galan and Space

    Marcius Galan and Space

    “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:

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    Abril, 30. 2014

    Inhotim press room


    artcultural programmingeducacioninhotim school

    Leitura: 8 min

    Space, Work and History Seminar

    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. 

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    Abril, 09. 2014

    Inhotim press room


    designpartnership

    Leitura: 2 min

    Inhotim + Osklen

    Inhotim + Osklen

    Inhotim is an inspiring place. It is a unique destination, where nature, art and architecture coexist in total harmony. Gardens, native forest, galleries and outdoor artworks have the power to make you reflect. The suspicious, seduced, restless look is enchanted – or shocked – by each curve in the path. In fact, strolling around the park is an invitation to perceive the world.

    This universe of meanings and possibilities enchanted Oskar Metsavaht, creative director for Osklen. In an unprecedented partnership with Inhotim, he and his team spent a week immersed into the Institute, creating and registering the 2015 summer collection of the Rio de Janeiro brand. “Inhotim is a unique experience. A must-see. The desire to express this experience led me to photograph and tape the way I feel and perceive this place”, he reveals.

    The result of this innovative project goes beyond bringing the beauty of the park to the foreground, and impacts the park’s economic sustainability. This is so because part of the value of Osklen Inhotim products will be allotted to maintain the Institute. The products will be in stores in September and some items will even be sold at Inhotim.

    Check out Oskar Metsavaht’s testimony in portuguese on this piece of news:

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    Abril, 01. 2014

    Inhotim press room


    brumadinhoeducacionhistory

    Leitura: 2 min

    Realized utopia

    Realized utopia

    Inhotim was created in an intuitive way; it was not the outcome of intentional, systematic planning. With the passage of time, I began to perceive that what we were putting together went beyond the nature of individual ownership. The overall set consisting of the botanical collection coupled with the art collection had a cultural value that should be an asset available to everyone.

    Inhotim has taken on real outlines of the new model of life, which foreshadows post-contemporary life. The contact with culture, with nature, with artistic manifestations and with beauty arouses people’s curiosity and stimulates them to learn how to become better in the present and future. Inhotim is a paradigm in the world, there is nothing else like it.

    But if all of this sounds like an utopia, I heard art critic Hans Ulrich Obrist say, when he was at Inhotim: ‘This is a realized utopia’.”

    Want to know a little more about the philosophy of the founder of Inhotim? So watch the lecture Bernardo Paz made at the Oasis Summit, in Los Angeles/USA.

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    Março, 26. 2014

    Inhotim press room


    brumadinhocommunityhistory

    Leitura: 3 min

    Where does the name Inhotim come from?

    Where does the name Inhotim come from?

    No one knows for sure where the name Inhotim comes from, but its origin generates a lot of curiosity among park visitors and employees. One of the best known theories relates the word to an English miner, “Sir Timothy”, who would have lived in the area where the Institute is today. The word “Sir”, translated into Portuguese as “Senhor”, was often pronounced simply as “Nho”. Thus, “Sir Timothy” would have become “Nho Tim”.

    Another story, evidenced by a notice served on May 26, 1865, registers the existence of a place called “nhotim”, where João Rodrigues Ribeiro, son of Joaquim Rodrigues Ribeiro lived. In one of the receipts attached to the old document, there is a signature in which the location is spelled as “Nhoquim”.

    The name “Joaquim” also appears in the story told by Dona Elsa, who lives in the Brumadinho region. She offers a variation of the version that involves the English miner, “What I remember people saying is that there was a landowner who was named Joaquim, I think, and his nickname was Tim. So, he was “Senhor Tim”, and became NHÔ TIM. In the old times, we didn’t say “senhor”, we used to say “nhô”. And that’s where the name Inhotim came from”.

    There is also a story of the journey made by English engineer James Wells throughout Brazil between 1868 and 1886. At some point, he recalls a conversation he had with an African-Brazilian worker on a road near Brumadinho. Local mode of speech indicates that the word Inhotim may be a variation of the expression used by slaves to say yes, sir (in Portuguese: sim, senhor): “N’hor sim”. The existence of six former-slave communities in the municipality of Brumadinho, four of which are acknowledged by the Palmares formation, reinforces this hypothesis.

    These are some of the possible explanations for the Institute’s name, collected by the Inhotim Center of Memory and Heritage (CIMP) . CIMP was created back in 2008 to rescue the region’s stories and traditions and is one of the projects carried out by the Institute with neighboring communities.

    Have you ever heard a different story about the origin of the name Inhotim? Share it with us!

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