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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, 11. 2014

    Inhotim press room


    cultural programmingeducacioninhotim schoolmusic

    Leitura: 3 min

    What’s new at Inhotim Escola 2014

    What’s new at Inhotim Escola 2014

    The second year of Inhotim Escola promises to shake up Belo Horizonte’s agenda. Art exhibitions, films, lectures, courses, workshops and a novelty: in 2014 the the environmental theme comes in to play with the project Consumo Consciente na Praça [Concious Consumption at the Park]. Starting in April, it will promote discussions on consumption habits of modern society so as to build a more sustainable life style.

    Among the actions planned for the year is the Dia do Carbono Zero [Zero Carbon Day], which aims to promote the reduction of emissions of greenhouse gases. Moreover, two-wheel lovers will be able to participate in the Pedal Verde, a bike circuit going through the southern-central region of Belo Horizonte aimed at raising awareness to the issue of urban mobility in the state capital.

    O Sarau realizado pelo Inhotim Escola em 2013 reuniu diversas pessoas na Praça da Liberdade, em Belo Horizonte.

    The soiree held by Inhotim Escola in 2013 gathered several people at Praça da Liberdade, in Belo Horizonte. Photo: Ricardo Mallaco

    As for the arts, also in April, the public will have the opportunity to chat with Inhotim’s curator Jochen Volz on the relationship between art and architecture in the construction of art pavilions. Jochen has organized several exhibitions in Brazil and abroad, including international shows in the 53rd Venice Biennale. Since 2012, Jochen is also chief curator of the Serpentine Gallery in London. Among other activities, the schedule of Inhotim Escola includes the seminar Visão Yanomami [Yanomami Vision], whose theme is the work of photographer Claudia Andujar. Swiss living in Brazil since the 1950s, besides registering the life of the Yanomami people, Andujar became a major activist for indigenous cause in Brazil.

    The old buildings that are part of the Circuito Cultural Praça da Liberdade will still host part of the activities. But this year, Inhotim Escola expands its actions to different locations in the state capital and other cities, and it will no longer have a fixed venue in Belo Horizonte. So far, the actions developed by the project have involved over two thousand participants.

    Interested? Find out more about lnhotim Escola here.

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    Fevereiro, 21. 2014

    Inhotim guides

    Realiza visitas e atividades que convidam a refletir sobre os acervos do Inhotim


    cultural programmingeducacionexhibition

    Leitura: 4 min

    Simply Marepe

    Simply Marepe

    Marcos Reis Peixoto, or simply Marepe, was born in Santo Antônio de Jesus, a small town in the Recôncavo Baiano region.  His works at Inhotim are related to the northeastern cultural identity and to the simplicity of his place of origin, however, these works go way beyond this.  Rather than emphasizing on the drama of social problems, and perhaps even of the draught, Marepe potentiates discussions on the very stigmas created for the northeastern region.

    Obra "A Bica" (1999), de Marepe

    Obra “A Bica” (1999), de Marepe

    A Bica (1999), Cabra (2007) and Olê ô picolé (2007), the three works by the artist currently on display at Inhotim, allow visitors to experience aspects of the everyday life ennobled of meanings, which is common in this work.  Marepe constantly uses materials that are not noble ones such as cardboard, rubber, beer cans and other everyday objects, building matter from ideas, from a form he likes to refer to as intuitive, despite the many influences present.  

    Obra "Olê ô picolê" (2007), de Marepe

    Obra “Olê ô picolê” (2007), de Marepe

    By reutilizing products that gain new meanings when out of context, Marepe is constantly associated with French artist Marcel Duchamp, connected to Dadaism, an avant-garde modernist movement that started in the early 20th century. When conceptual art was decomposed and unfolded into philosophy, information, linguistics, mathematics, autobiography, and social criticism, it left a legacy in art history, and the artist uses this legacy to create works that translate his ideas, experiences and memories.  

    Obra "Cabra" (2007), de Marepe

    Obra “Cabra” (2007), de Marepe

    His works are not appropriations of objects that acquire new symbolism; they are rather confections of objects similar to those used in the everyday lives of many people which, as art pieces, acquire new meanings.  Marepe calls these symbolic recreations nécessaire, while Duchamp refers to them as ready-mades.

    At the park, Marepe’s simplicity if often perceived with a certain degree of awkwardness.   His works propose a dialog, cultural acknowledgment and reflection on recurring issues in contemporary art, with a Brazilian and northeastern twist at the same time.

    Written by Beatriz Alvarenga, Daniela Rodrigues, Marília Balzani and Pedro Vinícius, Art and Education mediators at Inhotim

    In February, the artistic theme visit proposes reflections on the works of Marepe on display at Inhotim.  Check out the program here.

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    Fevereiro, 20. 2014

    Silva, Everton

    Integrante da equipe de Inclusão e Cidadania do Inhotim


    brumadinhocommunityeducacion

    Leitura: 4 min

    … so far

    … so far

    When I started my career at Inhotim in 2006, some of my colleagues had already been helping plant the seed of the project we have today. My story at Inhotim is not that long. For instance, some people have been working here for over 20 years, when the region still housed a village called Inhotim, the birthplace of what would become an international institute, a reference in not only Brazil but also worldwide. Anyway, I also consider myself an important part of this beautiful journey.

    Since my arrival at Inhotim, things have changed in a wonderful way. Eight years ago the park was not like it is today, but it was already beyond anything I had ever seen. I was born in a former-slave community (known as quilombo) and, when I was 12, I moved to Brumadinho with my grandmother, who had to change jobs. At that time, the institute had a different name, less visibility and only received private schools and some special guests. It was very simple, with a few employees in the education area. Unlike today, there wasn’t one single monitor.

    I arrived at the institution to take care of the waterfowl and soon became known as the duck boy. I was extremely pleased with my job. But one of the most crucial thing in my life happened at this time: I started my undergraduate studies in History. I confess that, at first, it was a bit tricky due to the cultural shock I experienced. I wasn’t very intimate with studying, after all, in my family I had neither encouragement to do such thing, nor the reference of other family members pursuing a college education.

    I finished college in 2009 and was transferred, closing a fantastic cycle in my life. I then started working at the Environmental Education Department at Inhotim. As a visitation mediator, what I loved the most was working with the students taking part in the Inhotim Escola program. They were mostly very poor kids, and all they needed in order to have a fantastic day was for someone to look at them, and care for them.

    The year of 2010 brought a lot of changes. I started law school. I was putting another life project into practice. I was once again transferred, this time into the Department of Inclusion and Citizen Empowerment of the institute, where I still work today. The work my colleagues and I do is not simple, but the achievements are rewarding. I have carried out projects with the Association of Recyclable Materials of Brumadinho (Ascavap), former-slave communities (referred to as quilombola) and with the program Inhotim para Todos (Inhotim for All). Each one of these projects has its own specificities, but they are all rewarding because they work directly on the transformation of the individual as a social being.

    This is my story at Inhotim, so far.

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    Fevereiro, 07. 2014

    Inhotim press room


    brumadinhocommunityeducacionmusic

    Leitura: 6 min

    Melodies that lull your dreams

    Melodies that lull your dreams

    Music to make you dream high. This is what Inhotim’s new music project coordinator, Maestro César Timóteo, keeps in mind when he plans the future.  Son of a pianist mother, César began studying the violin as a child. Today, as a violinist, opera singer and conductor, he seeks to awaken the musicality and talent of each student taking part in the projects he will be in charge of. The Maestro talked to Inhotim’s Blog and told us a little bit about his career and experiences in this new phase of his life.

    Blog do Inhotim – Tell us a bit about your career in music.

     

    César Timóteo – I can´t single out the exact moment music really got me.  My mother is a pianist and this has influenced me a great deal.  Through her, I was able to be in contact with is fascinating art from a very early age.  I started studying the violin when I was nine, and became a professional violinist in my teenage years.  Later, I also got my Opera Singing Degree, taking part in performances as a soloist in operas and religious plays.  After working as a violinist and singer for several years, I decided to study orchestral conducting, which became my main occupation in music.  I had the opportunity to conduct orchestras in Brazil and abroad, in addition to working with great music professionals, who have significantly influenced me. Some of these them I would like to mention are violinist Max Teppich and Maestro Isaac Karabtchevsky.   

     

     BI – What is your opinion on the musical potential of Brumadinho and its residents? 

    CT – Music is part of the development of all communities. It is a necessity.  Brumadinho is no different. We have to provide opportunities for people to learn it, awakening the musicality within them.   Leaning music, whether by means of a musical instrument or signing, tends to organize and blossom out this musicality, leading to balance, development and the possibility of dreaming higher.  I have no doubt that Brumadinho is filled with music talents, which will certainly be revealed.  

    BI – Which projects are you going to be coordinating? Talk a bit more about each one of them.

    CT – Youth, Adult and Kid’s Choirs and the School for Strings. These projects are carried out by Inhotim, sponsored by Vale do Rio Doce and are part of an initiative of the Department of Culture.  In 2014, we are going to work in a more unified way, with a team of guest teachers from Belo Horizonte. These projects are intended to promote social, musical and artistic development in communities located at Vale Médio do Paraopeba, which includes youngsters from Brumadinho, Mario Campos and Bonfim.  Most of the students come from the public school system and, with the projects, they have the opportunity to take free theoretical and practical lessons.

     Classes take place on a weekly basis and the students enrolled are able to study vocal technique and music theory, in addition to practice instruments such as:  violin, viola, cello and bass.  During choir and orchestra practices, students are able to experience music as part of a group, developing their harmonic perception and cooperative work.  Enrollment happens twice a year and those interested in participating must apply at the project headquarter in Brumadinho. 

    BI – In 2014, what’s new when it comes to the projects developed by Inhotim?

    CT – We are going to work to unify music-related social projects, considering a nationwide reach.  It is important to consolidate actions in Brumadinho and surrounding areas, so that some time from now we can also reach other towns.  We are going to value joint actions.  The music experience must happen in a less individual and more collective way.  We are also going to  purchase two new pianos to be used in choir activities, as well as in musical perception classes. Also, we will be able to rely on new facilities in Brumadinho, which will be larger and more suitable for classes and rehearsals. 

    BI – What are your expectations for this new journey with the students taking part in the projects?

    CT – I want to closely monitor the development of each student. It is important to know them, so that we can guide them in the right direction.  I hope to see their musical growth, to see them dreaming with new possibilities.   Art does that.  I hope music learning and musical practice will influence the human development of students as well as of Brumadinho community.  I hope this can bring a positive effect to their decisions and attitudes, promoting better quality of life and improving the way they live in society.

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