The caption of Desvio para o vermelho (1967-1984) presents two dates: the year the project was conceived (1967), and the year it was first assembled at the Museu de Arte Moderna do Rio de Janeiro (1984); at Inhotim, it is permanently exhibited since 2006. The title of the work by Cildo Meireles makes reference to … Continued
Através (1983-1989) takes as a point of departure the child recollections of Cildo Meireles, a turning point from a moment when one could freely circulate between domestic spaces and the street, to the time when such spaces started to be surrounded by surveillance mechanisms – in the physical sense as much as in the psychological … Continued
Glove Trotter (1991) was first shown at the itinerant exhibition Latin American Artists of the Twentieth Century (1992-1993), that has been presented in several important art institutions, and lastly at the MoMA – Museum of Modern Art in New York (USA). The work is composed of several spheres of different sizes, colors, and materials collected … Continued
Passarinhos – de Inhotim a Demini (2008) is exposed outdoors, recovering the benches of the gallery’s terrace. The hand-painted tiles are the support to individual reproductions of more than 490 birds of different species. The work is an unfolding of the installation Pássaros da Amazônia (2003), presented in the exhibition Yanomami – Spirit of the … Continued
Celacanto provoca maremoto (2004-2008) was first presented in 1999 at Galeria Camargo Vilaça (São Paulo), in a reduced version with another title: Azulejões. It was for the exhibition held at Fondation Cartier pour l’art contemporain (France) in 2005 that Adriana Varejão conceived the current format of the work that now occupies the walls of the … Continued
In Psicopompo Cooking Crystal (2010) one can observe the construction of an image that seems to be removed from a larger, unknown context. The iron and steel gate is open, and the door is covered by magnets. In a mystical reading, gates are the representation of moments of energetic transformation, just like magnets, that also … Continued
In Viewing Machine (2001), the experience and process regarding the audience perception lay among the central drives of Olafur Eliasson to create this work. The piece is based on the working principles of a kaleidoscope. Invited to manipulate the ‘viewing machine,’ the visitor can point it to whatever direction and observe through it a point … Continued
By Means of a Sudden Intuitive Realization (1996) was first shown at Manifesta Biennale I in Rotterdam (Netherlands), in 1996. Olafur Eliasson takes as a point of departure the utopian, visionary architecture of Richard Buckminster Fuller (1895-1983), who took inspiration from geodesic shapes of nature to design simple and sustainable constructions throughout his life. Here, … Continued
In her early artistic education, Yayoi Kusama studied Nihonga painting, a traditional Japanese technique, in Kyoto. Discontent with both technical and social limitations she was inserted in, she moved to the United States of America in the 1950s. The influence of abstract expressionism, surrealism, minimalism, pop art, and the movements Zero and Nul is noticeable … Continued
Vegetation Room Inhotim (2010-2012) is a work conceived for a glade in the forest of Instituto Inhotim. As the artist herself defined: ‘I built a vegetal, roofless, open-air room in the middle of the forest, with stainless steel walls reflecting nature and, therefore, disappearing, camouflaging itself.’ The work consists of a mirrored structure whose interior … Continued