Part of the first set of buildings conceived to receive short-term exhibitions at Inhotim, Galeria Fonte was inaugurated in 2002 and designed by architect Paulo Orsini. Its name, a common feature among the temporary galleries, makes reference to the place where it is, close to fountainheads. With a simple and curvy outline, the building proposes … Continued
Designed by Play Arquitetura, the gallery was inaugurated in 2012 and is part of a set of remaining structures of the early farm where Instituto Inhotim currently works. Past and present come together in the former barn that, after some interventions and adaptations, now shelters the installation Ahora Juguemos a Desaparecer II [Now Let’s Play … Continued
Inaugurated in 2012, the gallery was designed by Rizoma Arquitetura to receive the work Ttéia 1C (2002), by Lygia Pape. The installation is the result of the experiences initiated by the artist back in 1977 around spider webs in nature, and how the structure would disappear and reappear following the light incidence, as some sort … Continued
Inaugurated in 2009, the gallery is the result of a five-year process around the research, design, and construction of the work Sonic Pavilion, developed from the experience of artist Doug Aitken at Instituto Inhotim. In the center of the space lays a 202 meters deep hole, where a set of microphones are installed to capture … Continued
Inaugurated in 2008, the gallery design is signed by Arquitetos Associados and was conceived in dialogue with Doris Salcedo’s work Neither (2004). The space has the exact same dimensions as the room where it was first exhibited at the White Cube gallery in London, back in 2004. In her career, the artist handles power structures … Continued
Inaugurated in 2014, the gallery project signed by Rizoma Arquitetura started from an adaptation of a neocolonial house existing in the early farm that is now home to Instituto Inhotim. The original wood doors and windows were replaced by glass, allowing for greater permeability between the inside and the outside spaces. The gallery keeps a … Continued
In the installation Forty Part Motet (2001), Janet Cardiff gathers eight sets of five speakers, each of them positioned in a large semicircle. Each speaker reproduces the voice of one member of the Salisbury Cathedral Choir (United Kingdom), recorded by individual microphones before the song starts and during its rendition. While going through the installation, … Continued
With sculptor’s tools and devices displayed on tables, Victor Grippo recreates an artist’s studio. Entering the space through a tiny gap of the window, the natural light also illuminates the room according to the sun’s movement over the day. This way, the work is also an indicator of the passage of time, incorporating what goes … Continued
De lama lâmina (2004) is the video unfolding of the performance made in collaboration with musician Arto Lindsay during Carnival in Salvador back in 2004. Instead of the traditional trio elétrico (sound truck), a major tractor is used in the performance as a kind of carro alegórico (allegorical float) and followed by the bloco (Carnival … Continued
Conceived for the 16th Biennale of Sydney (2008), this video installation is presented for the first time in Brazil and occupies one of the largest exhibition spaces of Instituto Inhotim. From a Russian expression that denies one’s responsibility on something that happened (literally translated as the title of this piece), it is part of a … Continued