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  • Agosto, 27. 2018

    Inhotim press room

    contemporary artDavid LamelasOpening 2018Paul PfeifferRobert Irwinyayoi kusama

    Sem categoria Leitura: 15 min

    Inhotim will unveil four new projects by major contemporary artists in September

    Inhotim will unveil four new projects by major contemporary artists in September

    New shows will spotlight works by David Lamelas, Paul Pfeiffer, Robert Irwin and Yayoi Kusama, as well as audiovisual works by eight other artists

    An international touchstone for its permanent installations of important works of contemporary art by leading artists, Instituto Inhotim will open a new temporary exhibition on 6 September.

    Four large projects by artists David Lamelas, Paul Pfeiffer, Robert Irwin and Yayoi Kusama — along with an exhibition dedicated to audiovisual works — will occupy the three temporary galleries “Lago”, “Praça” and “Fonte”. A large number of works that have never been seen in Brazil before will go on show for the first time in this presentation, which is focused on perception and time, and on different forms of audiovisual production both in Brazil and beyond. On the opening day, the Argentine artist David Lamelas will do the performance Time. The public will also be able to see Stallwitter (Stable Storm), performed jointly by Brazilian artist Marcellvs L. and German artist Daniel Löwenbrück.

    “Our aim is to establish a dialogue among works by renowned artists of various nationalities and generations, introducing visitors to names that are still little-shown in Brazil,” says Inhotim’s curator and artistic director Allan Schwartzman. “Internationally important artists who have significantly influenced the history of art — such as Robert Irwin — give rise to new perceptions on space, for example. This exhibition is an excellent opportunity for presenting other works from the collection and to re-create connections with the works for which Inhotim is already known.”

    For two artists, Robert Irwin and Yayoi Kusama, this exhibition is a prelude to important large-scale projects that will be unveiled over the next few years at Inhotim. The institute is planning the open-air installation of a large-scale sculpture that Irwin has designed specially for Inhotim. Meanwhile, the construction of a permanent gallery dedicated to Kusama, sponsored by the Companhia Brasileira de Metalurgia e Mineração (CBMM), is in development.


    Galeria Lago will feature the exhibition “Lamelas, Irwin, Kusama: Regarding Perception”, which brings together works by three great names in the history of contemporary art. Visitors will be able to view historical works by David Lamelas; Black³, 2008, by North American artist Robert Irwin—being shown here for the first time in Brazil; and the installation I’m Here, But Nothing, 2000, by Japanese artist Yayoi Kusama.

    “The show has historical breadth and covers interesting territory insofar as it brings together artists from different nationalities who began their careers in the same period, during the 1950s and 1960s,” says Inhotim’s adjunct artistic director María Eugenia Salcedo. “There is a generational dialogue among them; all three artists research new forms of artistic production that appropriate less standard material — such as light, architecture, everyday objects and the body itself. Their focus is not on the object, but rather on perception, sensations and the ways in which sculptural elements alter our experience with space and with works of art.”

    David Lamelas (Argentina, 1946) will be showing the works Corner Piece, 1966/2018, Límite de una Proyección I, 1967Proyección, 1968, Situación de Cuatro Placas de Aluminio, 1966, and Untitled (Falling Wall)1993/2018The artist achieved international visibility in 1967 with his participation, at the age of 21, in the 9th Bienal de São Paulo and, in the following year, at the 36th Biennale di Venezia. For more than four decades, his works have dealt with themes including time, light, space, architecture and the dematerialization of objects. The artistic context of each place where he has lived — London, Paris, Los Angeles and New York — is essential for his production.

    Robert Irwin (USA, 1928) will be presenting Black³, 2008. A pioneer of the Light and Space movement, Irwin began his career in art as a painter in the 1950s. Since then, he has explored perception as a fundamental question of art. The artist has conceived more than 55 site-conditional projects, including the Central Gardens for Getty Center, Los Angeles, 1992–98, and the architectural design and external area of Dia:Beacon, New York, 1999–2003.

    Yayoi Kusama (Japan, 1929), already permanently installed at Inhotim with Narcissus Garden, 2009, will now also have the work I’m Here, But Nothing, 2000, shown at the institute. One of the most important artists to have emerged in Asia during the postwar period, Kusama has established a relationship with movements such as Surrealism, Minimalism, Pop art and Feminism. Her work refers to hallucinations that the artist has experienced since childhood and which she transposes to paintings, sculptures, drawings, collages, performances, installations, films, literature, fashion and design.



    The exhibition “Paul Pfeiffer, Vitruvian Experiments” will occupy one of the wings of Galeria Praça with two works by the American artist: sculpture Vitruvian Figure, 2008, and the video Empire, 2004. Born in Hawaii, with strong cultural links with the Philippines, Pfeiffer visited Inhotim last year to work together with the institute’s staff to plan the installation of his works.

    Inspired by the Olympic Stadium of Sydney, Vitruvian Figure is a large-scale sculpture of almost three meters high, and with one million seats (the real capacity of the arena is 80,000 spectators). Empire presents an anthropomorphic narrative about the activity of the construction of a wasp nest, inspired by the artwork with the same title by Andy Warhol.

    “In bringing together these two works, Pfeiffer evokes both the lack of life and movement in Vitruvian Figure and the power of life and creation in Empire,” says Fernanda Arruda, Inhotim’s adjunct curator. “Empire presents us with a structure — an architectural element that fits the need of the wasp — while Vitruvian Figure represents the fulfillment of the consumer’s needs. The nest is essential to the wasp while the stadium is not essential to sport. Vitruvian Figure makes a spectacle of us while reclaiming public space; Empire makes us complicit in the nest-building process, which is about procreation and the continuation of life.”

    Pfeiffer became known for his digital manipulations of images of athletes and celebrities, which the artist uses to explore the common tensions of contemporary culture, shedding light on their racial, religious and technological dimensions. His works connect contemporary culture with the history of art, politics, religion and media and has been exhibited and collected by important institutions including the Whitney Museum of American Art of New York, Hammer Museum, in Los Angeles, the Contemporary Museum, in Honolulu, and the Museum of Contemporary Art of Chicago.



    Located in one of the most visited areas of Inhotim, Galeria Fonte will feature the exhibition “To See Time Go By”, dedicated to audiovisual works of art. Along an immersive path, the exhibition invites the visitor to explore new possibilities of the image. Large audiovisual projects, part of Inhotim’s collection, are being shown for the first time in Brazil.

    The works on show include video, slide projection with audio, 3-D projection in real time and a video wall. “The exhibition reinforces the audiovisual vocation of Inhotim, whose collection includes audiovisual works by great artists such as William Kentridge, Steve McQueen and Anri Sala, as well as important sound works by artists Doug Aitken and Janet Cardiff,” says assistant curator Cecília Rocha.

    The public will be able to get to know works such as the virtual sculpture Oil Stick Work (Angelo Martínez / Richfield, Kansas), 2008, by artist John Gerrard (Ireland, 1974); a slide projection with audio Have You Ever Seen the Snow?, 2010, by Mario García Torres (Mexico, 1975), and the video I See a Woman Crying (Weeping Woman), 2009, by Rineke Dijsktra (Holland, 1959); all of which have not been previously shown at Inhotim. The show will also feature works by Jorge Macchi (Argentina, 1963), Marcellvs L. (Belo Horizonte, 1980)Peter Coffin (USA, 1972), Phil Collins (England, 1970) and Susan Hiller (USA, 1940).


    Schedule Opening 2018


    Galeria Lago

    “Lamelas, Irwin, Kusama: Regarding Perception”

    Galeria Praça

    “Paul Pfeiffer, Vitruvian Experiments”

    Galeria Fonte

    “To See Time Go By”

    John Gerrard, Jorge Macchi, Marcellvs L., Mario Garcia Torres, Peter Coffin, Phil Collins, Rineke Dijkstra, Susan Hiller


    On the opening day, the galleries can be visited from 9:30 a.m. to 5:30 p.m. Mediated visits in Portuguese and English will take place throughout the day.


    – Time

    David Lamelas

    11h: 42, in front of Galeria Lago

    Image subtitle: Paul Pfeiffer, Vitruvian Figure, 2008, detail.
    Courtesy of the artist and Paula Cooper Gallery, New York.


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    Julho, 10. 2014

    Inhotim press room

    arquiteturaarteducacionyayoi kusama

    Sem categoria Leitura: 3 min

    Award-winning architecture

    Award-winning architecture

    In addition to works of art and gardens that draw attention worldwide, Inhotim has also been consolidating itself as a showcase of Brazilian contemporary architecture. Proof of this is that the Burle Marx Educational and Cultural Center, where the work Narcissus Garden Inhotim (2009) by artist Yayoi Kusama is installed, was nominated for the 1st Mies Crown Hall Americas Prize, granted by the Illinois Institute of Technology, in the United States. Among the 225 projects chosen, 36 stood out in the “exceptional” category, including the Institute’s building, which was joined by important names in architecture in the Americas, such as Herzog & Meuron, Gehry Partners and Steven Holl Architects.

    This is not the first time the building is nominated for an award. Created to Inhotim by the Minas Gerais-based office Arquitetos Associados and inaugurated in 2009, the Burle Marx Educational and Cultural Center won in the “Institutional Buildings” category of the 3rd Best of Architecture, granted by the Arquitetura & Construção magazine (Editora Abril), nominated for the 9th Young Architects 2009, granted by IAB SP; nominated for the 12th IAB MG Architecture Award in 2010, among others.

    Essentially a space for work and knowledge, the Burle Marx Educational and Cultural Center houses the Institute’s educational programs, oriented towards Art and Education and Environmental Education. With 1,704 m2, the building houses a library and studios where workshops take place, in addition to Inhotim Theater, with 214 seats, and Café do Teatro, a great place to have a espresso and try a great pão de queijo (cheese puff).

    On top of the building lies a version of one of the most emblematic works by Japanese artist Yayoi Kusama.Originally shown in the 33rd Venice Biennial, in an off-record participation of the artist in the event, Narcissus Garden Inhotim gathers 500 stainless iron spheres that float on a water mirror on the roof. Wind and other external factors create new forms in the installation, which reflects visitors, the sky, the water and the surrounding vegetation, creating, in the words of Kusama, “a kinetic carpet”.

    What about you? Have you already been to the building and seen this work?Tell us about your experience and comment below.


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    Novembro, 19. 2013

    Inhotim press room

    artyayoi kusama

    Sem categoria Leitura: 3 min

    Creative Obsession

    Creative Obsession

    Yayoi Kusama was still a child when she experienced her first hallucinations. The Japanese girl’s mind was then, inhabited by dots, balls and phallic shapes, which led to a compulsive disorder diagnosis. Aged eleven, the girl found a way to deal with her condition in using creativity. Currently, at the age of 84, still seeing the same shapes, she carries on working. The circular patterns, which have become a trademark for the artist, who is among Inhotim’s collection can be seen until January of 2014 in the works being displayed at Centro Cultural Banco do Brasil do Rio de Janeiro.

    Infinite Obsession features paintings, installations, videos, sculptures and other works, comprising Kusama’s first solo exhibition in Brazil. The CCBB visitor is invited to appreciate various artworks, such as Infinity Mirror Room — Phalli’s Field (1965), Fireflies on the Water (2012).  and Obliteration Room. The latter work is an interactive installation which was first conceived for the QueenslandArtGallery in 2002

    and invites the audience to share the artist ‘s obsession by pasting colored polka-dot stickers on a white room’s wall (see TateShots’ flabbergasting final result of the installation in London)

    Evocando o mito de Narciso, no Inhotim o visitante é convidado a apreciar sua própria imagem em um das  500 esferas de aço que flutuam sobre um espelho d’água. / Foto: Daniela Paoliello.

    The myth of Narcissus: Inhotim’s visitors are encouraged to appreciate their own reflection in one of the 500 steel balls floating on the water mirror. Photo: Daniela Paoliello.


    If you have been to Inhotim before, you are probably acquainted with the Narcissus garden Inhotim (2009). It is a version of a former artwork set up for the 33rd Venice Biennale. At the time, Yayoi Kusama surreptitiously spread 1,500 mirrored balls on the official pavilions’ lawn. While wandering about, the visitor would then pass by the installation and see the sign she had placed between the spheres, which read: “Your narcissism for sale.” The price?  $2 a piece. The artist was removed from the festival, where she would only set foot again 27 years later, now as a guest.


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