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  • Março, 13. 2014

    Inhotim press room


    artcultural programming

    Leitura: 7 min

    Contemporary dance at Inhotim

    Contemporary dance at Inhotim

    Thinking about women and how they relate with space, French choreographer and dancer Cecile Proust developed the femmeuseposturalE show. Relying on a group of multigenerational professional and amateur dancers coming from different backgrounds, the performances use contemporary dance to explore issues such as the construction of the female genre. Visiting Minas Gerais for the third time, Cecile is currently making the final adjustments in the performances that will take place this week at Inhotim, on March 14 and 15. Between rehearsals in the Institute’s gardens, the choreographer took a break to talk to Blog do Inhotim. Comfortably sitting in one of the benches by Hugo França, she talked about performing at the park, as well as about her view on women in today’s society, her influences and much more.  Read everything in the interview that follows.

    Blog do Inhotim – How did the idea for this show come about?

    Cecile Proust – From the beginning, the Femmeuse evokes the question of gender, feminism, art and the connections that can be made between these points. The performances presented in femmeuseposturalE are a female answer to the work of French choreographer Fabrice Ramalingom, Postural: études, created for a group of 15 men. We made this work with choreographies presented only by women. In this work, we can find influences of Odile Duboc [French director] and American director Bob Wilson, with whom I have worked before. There are several other influences, but Brazilian painter and sculptor Lygia Clark has also brought a lot of references.

    BI – What is your view on women in today’s society and which message does the show wish to convey in regard to women?

    CP – It is hard to define the woman in today’s society with accuracy, for there are millions of them and they are all different from one another. I believe we should all just leave the word and space free for them. Each woman should be able to express herself in the several different ways she can. Therefore, we should leave this space open and let the invisible emerge within women. This is precisely what the show explores, women’s freedom of movement within the space they occupy. .

    BI – The choreographies are performed with professional and amateur dancers, including Inhotim employees. What is the intent of this proposal?

    CP – We specifically seek these different bodies working for the dance, rather than just one. This way we can bring out different experiences and effects and observe how these women’s bodies mingle with one other during the choreography. This professional-amateur relationship makes the performance unique, different in every movement, and this is reflected both for the dancers and for the audience.

    BI – How does it feel to have Inhotim as the setting for this performance?

    CP – It is wonderful. This place is truly amazing. Also, working with choreographies that involve works such as Desert Park (2010), by Dominique Gonzalez-Foerster and Piscina (2009), by Jorge Macchi, like we are going to do, is even more interesting, since both these works have great impact on the body, on energy and on space itself. The thing is, the whole of Inhotim is exceptional and mesmerizing right off the bat. I remember when we first came here back in 2012, Jacques [Hoepffner, visual artist and partner in preparing the show] and I only had half a day to visit the park. But even though this first visit was a quick one, we looked around and said, “Wow! We want to develop a project here”. And today this has been made possible.

    BI – What unique aspect has Inhotim brought to these performances?

    CP – Well, it is important to say that the performances we will be presenting here have been created specifically for this place, and they are related to these who artworks were will be using as the setting. Even with the connections we can draw between these performances and other materials from choreographers in France, or even other works I have developed in the past, at Inhotim we have this special relationship with space, nature, the weather, the vegetation, which is totally different from what we are used to in Europe. All of this brings unique elements to the choreographies and is totally aligned with this strong relationship with the environment developed in this work.

    BI – What are your expectations for the work at Inhotim?

    CP – It is hard to foresee what is going to happen, but often what we expect changes a bit when it becomes real, which ends up being one of the most fascinating aspects of this presentation. I believe something that is interesting and very typical of the artistic work is to allow yourself to be transformed by experiences and by those working with you. Our project is totally transformed by those who take part in the presentations, as well as by the space itself. Of course we have an idea of the results, but what truly matters is this transformation and how the place can impact the performances. We are always curious to know what will happen. I think the same thing happens with the audience.

    Are you also curious to know the result of the performance? Then, make sure to go to Inhotim and check out the femmeuseposturalE. Click here for more details on this performance.

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    Fevereiro, 03. 2014

    Inhotim press room


    artbotanytamboril

    Leitura: 4 min

    Nature reborns

    Nature reborns

    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:

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    Janeiro, 29. 2014

    Janine Ribeiro, Renato 

    Membro do Conselho Consultivo do Inhotim


    arthistory

    Leitura: 9 min

    Seduction experience

    Seduction experience

    A life acquires meaning largely thanks to the revelations it is made up of. Birth is probably the first epiphany we have – at least until we know more about intrauterine life, which must be quite rich. Being born is a difficult experience, most certainly a painful one, especially because we lose a warm, wet, protected environment and enter a wide world, which will take long to be perceived as a good one. Often this world will never even be a good one, it won’t even make sense, we will often never find its rhythm.  But then, after all this, we keep on having revelations.  One of the most celebrated advertisement pieces in our culture – considering that Brazil has top-notch admen – is the one that features a girl’s first brassiere, the one “she will never forget”: The boy’s face lights up, between fascination and shock, as he sees a woman wearing nothing but a bra for the first time. A revelation of the sexual nature of female beauty, which might or might not be precocious.  Eroticism appears disrupting, surprising, dazzling, and, as everything that dazzles and overshadows us, it forever changes the way we look at things.    

    Every big revelation is like that.  It removes the veil that covers the world, it reveals, thus showing the truth, showing what is behind the veil, that which was believed to be hidden.   Its first effect is to catch the eyes’ attention with such power that nothing else is left.  For a few moments, which might seem too long, the sight is so overwhelmed that objects disappear, and what actually takes their place? Light?  New objects? The chance of living life differently?

    I live in a city that owes its name for having been founded in the day we celebrate a man going blind.  Its patron saint, Saul of Tarsus lost his sight during a visit to Damascus.  Before that, we relentlessly persecuted Christians.  Suddenly, in the middle of a road, far from everything that resembled an urban space, which protects and safeguards, he is blinded by a light and a voice interrogates him.  This is a well-known episode and I will not tell it again.  The revelation of Christ to his persecutor obfuscates Saul. He recovers and is converted.  Every major revelation is only valuable when it results in a conversion.  Nothing will be as it was before. The persecutor becomes a preacher. Saul becomes Paul. He loses the heathen and opens up to the pagan.  Saint Paul no longer has anything to do with Tarsus.  He leaves the local behind and becomes global.  He was probably the first greatest globalizer of religion.  Christianity – which could have been nothing but a sect of Judaism, or even merely a change in Judaism – leaves the Holy Land and goes to the world.   It no longer will be a religion of a single people, but rather a religion that touches the whole of mankind.  So that was the most celebrated conversion of all, followed by the most celebrated epiphany of all.

    Inhotim is a revelation.  I don´t know anyone who has visited the art center and hasn’t left – the word they usually use is one of these – mesmerized, impressed.  I had the privilege to be introduced to Inhotim by Cláudio de Moura Castro. He brought a catalog whose every image caused these impressions – strong marks that get stuck to your soul and, many times, to your body, inerasable images.  They stay. That is how I was seduced by images, before even visiting the place that especially celebrates images, for this is what art is: images.  I mentioned I was “seduced”, and this is the correct word to use – for being seduced means to be deviated from the right path.  But what is correct when it comes to art, to creation?  Generally, that which is less good is correct.  That which will generate a future generally begins because it is wrong.  The artworks at Inhotim, whether those which fit the usual concept of bi-dimensional image or those which open more dimensions, including the sound dimension, disrupt commonsense, with orthodoxy, that is, with an opinion said to be the correct one.  They deviate and deviate those who face them.  This invitation to the crooked, to the different, is one of the most important contributions contemporary art offers to those who experience it (and that is precisely why there are no spectators at Inhotim, who would keep a somehow quiet distance from objects, a distance between the subject and the object, which does not modify the subject). Inhotim is not made for the Bourbons, who recovered power in France in 1814, after having been exiled for a quarter of a century and who “neither had forgotten nor learned anything”.  It is a life experience with which you learn a lot and, undoubtedly, one which makes you forget a lot as well – for there might not be learning without oblivion, which Nietzsche believed to be extremely active, extremely needed for creation. This is the culture which is worthwhile:  That which modifies those who experience it.

     I remember Freud, in an article written in 1916, in which he deplored the Great War that was in progress, nostalgically recalling the day immediately preceding that period, when the educated man would travel to Europe as if each country, each culture, were a different room in a great museum.  Nothing better defines the concept of what Inhotim is.  The Contemporary Art Center is not a museum whose sole purpose is for people to enjoyably appreciate diverse objects that not question them. It is a series of questions, almost a questionnaire for each one of us, challenging us, offering pleasure – no doubt – but also raising one doubt after another.  And, thus, we have revelations that are different from those which have inspired the apostle, for they don´t bring certainties, they don´t offer a new faith, an orthodoxy that supplants previous ones, instead, they raise questions, issues.  It is no coincidence that Inhotim changes the minds of those who got used to just enjoy artworks, removing them from possibly blasé world of the connoisseur, while it fascinates young people, those whose looks are virgin.

    I end with a truthful anecdote. Once, the two greatest French philosophers of the second half of the 20th century met. It was around 1970. Foucault said to Deleuze,  “One day, the century will be Deleuzianized”.  He meant that the traditional thinking, referring to Aristotle, Descartes and Kant, would not suffice for what was starting to happen among the younger minds.  Well, that is what we have needed at least since the time immediately after May 1968. The world changes rapidly and we are barely able to understand, much less theorize, what is appears right before our eyes.  Inhotim is part of this new world.  We may lack theories about it, but we see it.  And that is certainly why youngsters find so much pleasure here. 

    *Renato Janine Ribeiro is a professor of Ethics and Political Philosophy at Universidade de São Paula and a member of the Advisory Council at Inhotim. He has also taken part in the Friends of Inhotim Program since 2011.

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    Janeiro, 23. 2014

    Inhotim press room


    artbotanybrumadinho

    Leitura: 6 min

    Tips to visit Inhotim

    Tips to visit Inhotim

    How do I get there? Is it possible to visit the whole Park in one single day? Where can I stay near there? How much is the ticket? Do they have parking facilities? I’m going straight from the airport, where I can store my luggage? Can I take a guided tour?

    If Inhotim is part of your wish list to 2014, at some point you will come across some of these questions. Enjoy the tips and start planning your visit.

    The first step is to know how to get there.

    Inhotim is located in Brumadinho (MG), about 60 km from Belo Horizonte. To calculate the best route for your trip, just click here (http://www.inhotim.org.br/visite/como-chegar). If you are in Belo Horizonte, on average, it will take you 90 minutes to drive to Inhotim. The parking lot at the park is free of charge. However, if you fly in, you can rent a car or take a taxi. It takes about  2 hours from Confins airport to the park or one and a half hour from Pampulha airport. The good news is that Inhotim has lockers for your handbags and luggage. You can also get there by bus. Saritur bus company has a line that goes from the Belo Horizonte bus station, located downtown, straight to the park, Tuesdays through Sundays . Check out  the timetables and bus fares here.

    Where to stay.

    Okay, now that you already know how to get there, you need to decide if you are going to stay in Brumadinho or in Belo Horizonte. Inhotim has 110 hectares of visitation area, which means you won’t be able to visit the entire park in just one day. If you are in Belo Horizonte and have a day off, you will certainly enjoy the visit. But if Inhotim is your main destination, a three-day visit is your best option. This way, you can walk, reflect and enjoy the environment with no need to hurry. Check out the lodging options here. 

    And now what?

     

    Purchased airline tickets, hotel reservation, it’s time to plan your visit to the park. Since Inhotim is a place unlike any other you’ve ever visited, there are some tips that can make your visit there even better. Besides being a Contemporary Art Center, Inhotim is also a Botanical Garden. Art galleries are surrounded by palm trees, flowers, lakes and plenty of wooden benches. Yes, art in the middle of nature. That’s why walking is an important part of the visit. To save some time, a good tip is to buy your ticket in advance. And if necessary, you can also rent internal transportation on our electric carts. Click here to purchase your ticket.

    Another great tip is to navigate through the park before going there. The interactive map helps you decide routes, learn about the galleries and even get better acquainted with some of the artworks. Speaking of delving into the park, here  you can learn about the guided visits that happen at Inhotim. Food service points are strategically located. Check out each one of them. Before you hit the road, it’s worth reading the visitation rules, so that everything will run as planned.

    If you made it this far, you are very close to accomplishing your goal. Inhotim is an unforgettable place. Enjoy!

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    Janeiro, 17. 2014

    Inhotim press room


    artbotanyeducaciontamboril

    Leitura: 6 min

    My day at Inhotim

    My day at Inhotim

    I was really excited when I heard I was coming to Inhotim.  I didn´t really know what it was, but Vitor told me it was super cool and there was lots of space to play.  Vitor came here once.   Artur and I didn´t.  Well, right after we got to the parking lot and walked to the park, I was really excited with that huge pathway, covered with trees.  When the guys put the visitor sticker on our shirts, we heard there were some special activities for kids during the day.  When we got there, they told us there would be a treasure hunt.  They divided the kids into groups.  The smaller kids went somewhere to play and we, the big kids, got together to start the treasure hunt.

    There were two teams. Each team had to find all the clues and discover the surprise at the end.  The assistants helped us solve the riddles.  We started running to find the clues really fast.  There were five clues.  They had notes that told us how to find the treasure.  Each clue told us to go north, northeast, northwest… all directions.  I found three out of five all on my own.  I was really smart. The clues were hidden in the middle of the vegetation, tied to the plants.  All you had to do was to slide your hand along and look real good and you could find it.  Some clues made us really tired, because we had to run and really look for them.  After we found everything, we went to get the treasure, seeds of the Tamboril tree. This big tree behind us.  

    After all this, we went to visit the whole park.  I didn’t really know what I was going to find.  When I arrived there, I thought I was going to see art, animals, and lots of trees I’d never seen before.  Artur really just wanted to go see Saci1, and his story.  Someone told him he was going to see Saci at the park.  Ow, Vitor also said there was a tree here that moves every month.  I don´t really believe that.  If the tree started moving around, I’d be really freaked out.  But one thing we did a lot was walking.  We walked, and walked, and walked… my leg even hurt at the end. 

    Meu dia no Inhotim - Colônia de férias Artur (6), Vitor (10) e Eduardo (10) enjoyed their day of visit at Inhotim Photo: Rossana Magri

     

     

    The Cosmococa was the thing I liked the most.  We entered there and there were five rooms:  one with balloons, another one with foam, another one with a pool, another with hammocks and another one with movies.  We even went for a swim in the pool.  Artur and I swam in our shorts.  Vitor was here before and he knew about the pool, so he brought his swimming suit.  Also, we strolled around lots of cool places and saw lots of different flowers, like cactus and others.  We went to a room where the floor is covered in broken glass. We went to another room that was really dark. We saw a shock ball too.  I was afraid the water was going to fall on me and I’d get shocked!  

    But there was something I thought was really weird:  the water in the lakes is green! What do they do to make it look like that?  Another thing: that blue room, with tiles, with a wall painted with human organs inside. How did they do that? What about the shallow pool in this building’s entrance, are we allowed to enter or not?  Another different thing I saw was the sculpture of a man mended to another man.  I thought that was pretty crazy and we even took pictures trying to copy them.  

    At the end, we even saw Saci’s house, but we couldn’t see him like Artur wanted to.  We didn’t have the stuff we needed to make him appear, and the assistants were not there at the time to help us.  But I thought Inhotim was really beautiful.  The art, the environment, everything was made with a lot of care, wasn’t it?   When I first got here, I thought it was kind of weird, because I’d never been to a place that big.  But now I know how it is and I want to come back.   I couldn’t see everything yet, like, for example, a room that is all red.  I really enjoyed it!

    Statement given by Eduardo, age 10, about his day of visit to Inhotim.

    1 Saci is a Brazilian´s folklore character. He is a one-legged youngster  who smokes a pipe and wears a magical red cap that enables him to disappear and reappear wherever he wishes.

     

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