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  • Dezembro, 27. 2013

    Rebouças, Júlia

    Curadora do Inhotim


    artBabette Mangolteopening

    Leitura: 3 min

    The look as a form of action

    The look as a form of action

    When I entered the room where Babette Mangolte’s work is being displayed at Galeria Mata, the image of a male face in a TV set caught my attention. Richard Serra, shot over a blue background – one of the few color elements in the room – seems to be staring at the viewer. His features are serious, still, he observes that which looks at him, the lens. The nearby black & white TV set displays the image of Yvone Rainer, who is more carefree, with a headband and playing around with some tape in her lips. But her portrait also stares at the camera. Both pieces of equipment, placed in the center of the room, converge towards me in a beautiful metonymy about the artist’s work and research processes, which is shown in a monographic way in that space. When she looks at others, Babette Mangolte shows us her own subjective matter.

    Babette is French and lives in the US. She experienced and registered in film, video and photography the important dance, theater and art scene that flourished especially in New York City in the 70s. The reflection of the experimentations made at that time ultimately impacted the paths taken by art. The generous and diversified archive created by the artist does more than simply document a historical period, it rather proposes an inflection and criticism that makes up the memory of that time. 

    Babette Mangolte - Touching III with collage III, 2013Babette registered in film, video and photography the dance, theater and art scene, especially in New York City in the 70s Photo: Rossana Magri

    During a conversation that took place when the exhibit was being assembled, the artist talked about the first showings of the film Water Motor (1978), in which choreographer Trisha Brown appears dancing for seven minutes. No costumes, no scenario, no music, just the body in motion, representing the decelerated pace of slow motion. In Babette’s own words, that image was so abstract and removed from any narrative support that it seemed to be impossible for it to be appreciated in the 70s. Genres like the video clip had to become more popular in the following decades before these manifestations were more deeply comprehended. The look was so daring that it was equivalent to the extremeness of the dance itself.

    * Júlia Rebouças has been a curator at Inhotim since 2007.

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    Dezembro, 17. 2013

    Inhotim press room


    brumadinhocommunityhistory

    Leitura: 2 min

    The right place

    The right place

    Today Brumadinho has its 75th anniversary and has become one of the Brazilian cities that are most talked about in the national and international press. In addition to hosting Inhotim, which has brought the city the title of one of the great tourism destinations in Brazil, the city has a rich cultural and natural heritage.

    The population of about 35 thousand inhabitants is made up of generous, welcoming people. The religious and cultural tradition of the quilombola (former slaves) communities are experienced with the energy of those who are proud of their African roots in their daily lives. The musical vocation of the city shows its rhythms in the instruments of its century old bands and in the voices of the several choirs that gather together children, teenagers and adults.

    Nature has also been very generous with the town. Two important world biomes, the Atlantic Rainforest and the cerrado, or Brazilian Savanna, meet at the ocean of mountains in the Brumadinho territory.  During most of the year the mountains and the city are covered in fog and the days start off with a fresh, light air.

    So, where else could Inhotim be located? Nowhere else in the world. That is why we are proud of being a part of this history.

    This is a homage of Instituto Inhotim to the 75th anniversary of Brumadinho.

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    Dezembro, 11. 2013

    Verdolin, Luiza 

    Integrante da equipe de Educação Ambiental do Inhotim


    artbienniallucy skaerporto alegre

    Leitura: 2 min

    2013 Mercosul Biennial

    2013 Mercosul Biennial

    The 2013 Mercosul Biennial was amazing! Warm Porto Alegre lived up to the event’s 9th edition title: Weather Permitting. If the title is seen as a question, the answer is yes. Seen as a statement, it was as coherent as possible. And, yet, seen as a condition, it justifies the incredible resulting experience. Going through the museums, institutions and spaces sheltering artworks and where performances took place, the thin line between art and nature was reinforced, delightfully confusing us as to where one starts and the other one ends.  The confluence of materials, methods, myths and rituals confirmed the promise of an environment intended to make you face natural resources in a new light, speculating about the bases that mark distinctions between discovery and invention.

    Here I share one of the treasures of the Mercosul Biennial, for those who haven´t been able to experience it: Tradução da resina. Resins are secretions produced by plants, which have specific purposes and contents. They became potential materials used in the production of several consumption goods such as waxes and latex. Lucy Skaer used resin as raw material for 25-kilo precious stones. Celulose Irani factory produced the work by extracting resin from pine. The piece subverts industrial and cultural production logic. In this context, as it happens in many other works in the 9th Mercosul Biennial, Skaer’s work explains how art poetically and excitingly “re”forms what nature produces.

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    Dezembro, 10. 2013

    Moura, Rodrigo

    Curador e diretor de Artes e Programas Culturais do Inhotim


    artopening

    Leitura: 3 min

    Risk and poetry

    Risk and poetry

    The arrival of Luiz Zerbini’s paintings at Inhotim, which happened at the same time the Juan Araujo room was opened, together with an exhibit on still life, show the desire to show and talk about painting.  Since the Adriana Varejão pavilion was opened back in 2008, painting hasn´t been in the foreground in our exhibits as much as it is now.  With intricate compositions and complex cultural references, Zerbini’s figurative works could be considered the focal point of his presentation at Galeria Praça, a reinvention of narrative painting – I think of the line that goes through Renaissance religious painting to the Brazilian historical painting of the 19th century.

    The relationship with nature, which is understood as the construction of man, becomes especially relevant at Inhotim, where the boundaries between what is cultivated and what is natural are always present.  In Mamão Manilha (2012), a papaya tree resists at a construction site that includes a painting by Hélio Oiticica.  In Mar do Japão (2010), it is the opposite:  human traces remain in an entropic seascape. The geometric paintings and sculpture-collages that complete the room show the artist’s restlessness during the last ten years of his production.  Due to his solar tropical and exuberant painting, at the same time Zerbini is a legend among Brazilian painters from the 1980s, he gathers 30 years of art showing that there is no poetry without risk.

    Obras de Luiz Zerbini na Galeria praça. Foto: Ricardo Mallaco

    Luiz Zerbini’s works can be seen on the Galeria Praça. Photo: Ricardo Mallaco

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    Novembro, 19. 2013

    Inhotim press room


    botanytamboril

    Leitura: 3 min

    In the heart of Inhotim

    In the heart of Inhotim

    One does not need to go a long way into Inhotim to bump into one of the largest and most beautiful trees in the park: the Tamboril. The specimen, located in the central area of the Institute, is an invitation for whoever is wandering around to go and take pictures. Moreover, Tamboril encourages you to rest underneath its shade or perhaps just gaze at it for a couple minutes. The tree is a popular hangout amongst visitors.

    The story of Tamboril, or Enterolobium contortisiliquum, is intertwined with the story of Inhotim itself. The tree is believed to be from 80 to 100 years old, thus being one of Inhotim’s oldest assets. One of the restaurants in the park has been named after the specimen, which has remained in the same place ever since the region was a small village. Additionally, it is the inspiration for some of the ceramic artworks produced at the park, which have the tree painted on them.

    Tamboril is an abundant species of our flora. Being deciduous, it loses its leaves seasonally. Its canopy reaches from 20 to 35 meters of height and it may range from between 80 and 160 inches of trunk diameter. It is a fast initial growth tree, which makes it well suited for reforestation. Its fruits are curvy and semi-hardwood, kidney or ear-shaped and may contain from two to twelve shiny brown seeds. Due to that, the tree has been granted several popular nicknames over the years, one of them being “Monkey’s Ears”.

    In spite of being large and thick, the Tamboril wood is light, soft and very resistant. Due to that, it is often used to make canoes, toys, plywood and crates in general.

    Since it is a waterbed tree, it was customary for washerwomen in the past to use Tamboril seeds and peels to wash clothing, as they contain soaping properties. Nowadays, several institutions are carrying out more thorough research on Enterolobium contortisiliquum. The Federal University of São Paulo (Unifesp), for instance, has discovered the existence of a protein in the plant’s seeds, which has been extracted and proven to have powerful antitumor, anti-inflammatory, anticoagulant and antithrombotic action.

    Popular Name: Tamboril or Monkey’s ear

    Scientific name: Enterolobium contortisiliquum

    Family: Fabaceae

    Occurrence: rain and semi-deciduous forests all over Brazil’s territory

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