Page 117 - ARTE!Brasileiros #38

in the work, painted with cement, this material took on an aspect starting with Tungas’s Deleite (Delight), acquired in 2000
of leather,” he says during the interview. by Bernardo Paz, Inhotim’s founder. Among the pages
Oliveira’s work thus arises, always in a relation between the material addressing the artworks, there are others dedicated to
used and the space it will populate. The concern with methodology the dozens of plants growing there, making the publication
has another example, a more recent work, Adenocalcinoma something similar to the actual experience at Inhotim.
Poliresidual (2014), an intervention on the walls of the Arthur Ross Futuromemória, in turn, with its central text by Frederico
gallery, in the United States. Oliveira informs he used cardboard, Morais, explores the diverse history of the region of
sand and glue. He slightly burned the material and “just painted” Brumadinho, from the arrival of the Bandeirantes to the
until he achieved a result similar to mold. “It was as if the gallery iron ore mining, going through the presence of slaves.
entrance was sort of moldy, peeling,” he says. More discreet than This contextualization is essential to address the place’s
many of his works, it is still about the epidermis and surfaces that peculiarities, but the book also shows another important
the artist seems to talk. approach: it portrays several of Inhotim’s characters, such
as the educators and gardeners, that is, the employees
1 | MUD SLIDES, 2015, ACRYLIC ON CANVAS, FROM THE COLLECTION OF CRISTINA AND RODRIGO at Inhotim with less visibility than the celebrated artists,
ROCHA MONTEIRO DE CASTRO but who are the ones responsible for its daily maintenance,
making it a living place. A fair tribute.
2 | BULBO, 2013, PLYWOOD BOARD The three publications were conceived by Anna Dantes and,
in a way, echo Paz’s description of his institution in one
3 | MESOFAGIA, 2012, PLYWOOD BOARD AND TABLE of the texts: “The people who arrive in Inhotim stressed
after a one-hour-and-a-half trip, within two hours turn into
4 | XILONOMA CHAMÚSQUIUS 3, 2012, BURNED PLYWOOD BOARD AND PIGMENTS children and are capable of talking honestly.”
To leaf through the books is, indeed, almost as going through
REVIEW BOOK | PAGE 94 the actual experience of being in Inhotim, but without the
INHOTIM CELEBRATES A DECADE WITH SET stress of the journey.
OF PUBLICATIONS 1 | IMAGES OF THE THREE PUBLICATIONS: INHOTIM, UM ESTADO DE ESPÍRITO (234 PAGES);
ARTENATUREZA, INHOTIM ESPAÇO TEMPO (283 PAGES); FUTUROMEMÓRIA, INHOTIM TEMPO
Three books approach the Minas Gerais institution in images and texts ESPAÇO (167 PAGES). ALL RELEASED BY DANTES EDITORA
that tackle its complexity
REVIEW EXHIBITION | PAGE 95
ON THE SAME PLACE AND NOWHERE
BY FABIO CYPRIANO
INAUGURATED TEN YEARS AGO, Inhotim was lacking With an interface ranging between design and architecture,
a publication capable of tackling its complexity. Although installation by Ana Maria Tavares reveals contradictions
it stands, in Brazil, as the best center for contemporary art, in the refusal of ornaments, among other modern precepts
with an unmatched collection on show, Inhotim is far from
being a conventional museum, and is equally not merely BY MIRTES MARINS DE OLIVEIRA
a botanical garden with artworks scattered around.
There, indeed, are concentrated not less than 28% of the NO LUGAR MESMO – UMA ANTOLOGIA DE ANA MARIA
botanical families in the world, according to information TAVARES (At the Place Itself – an Anthology of
of the institution itself. Ana Maria Tavares), on show at Pinacoteca through April 10,
But Inhotim is neither the result of the sum of a collection and a features a selection of works by the artist, curated by
garden. After all, its entire surroundings are also important, Fernanda Pitta 35 years after her first solo exhibition, called
whether we talk about the little houses in each lot purchased Objetos e Interferências (Objects and Interferences),
for the park, today transformed into exhibition halls, or the site held at the same institution.
for the extraction of iron ore, with its train and rusty grounds. The artist proposed to develop the exhibition starting from
All these attributes are found in three publications which, the idea of installation and intervention in the building that
together, form a broad and visually striking overview and – the houses more than 160 pieces from several periods distributed
best part – are positively on the same page as the Inhotim marks. around seven halls on the first floor, corridors, lobby
It’s not exactly a catalog, but a set of books that explore the and the octogon.
sheer diversity of central Minas Gerais. This interference results in a dense environment, which
The largest publication, Inhotim, um Estado de Espírito (Inhotim, agglutinates and shrouds parts of the histories of art,
a State of Mind), is a visual essay seen through the eyes of three design and architecture, providing hints for a game
photographers (Camilla Coutinho Silva, Nelson Kon and Ricardo of historic examination.
Azoury), and features an amusing essayistic text, chock-full Connected to this interference and available to be
of accurate information about Inhotim, by Humberto Werneck. experienced by the visitors is an inventory of conceptions and
From its 234 pages, 90% are stunning images (and we cannot visualities that marked the elaboration of the modern project.
escape the adjective here), with highlight for the aerial view, This entire legacy is reviewed through a subtle and ironic
which provide a different perspective to Inhotim, even filter, almost ambiguous in its effects – at the same time
for those used to walking in the park. that in this atmosphere everything seduces, melancholic
Two other books, in smaller formats, both also full of images, and claustrophobic sensations emerge. The pieces
round out the trilogy: Artenatureza, Inhotim Espaço Tempo are capable of delivering the exact measure of the
(Artnature, Inhotim Space Time) and Futuromemória, Inhotim inabilities of the Utopian modern promises.
Tempo Espaço (Futurememory, Inhotim Time Space). The first Its most iconic symbols are present there: the grids and
presents the art pieces in chronological order of acquisition, transparencies, the technological precision, the convergence

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