Exhibited for the first time in the 26th São Paulo Bienal (2004), this work reveals an important element of Simon Starling’s work: the boat. Here, the mahogany piece is placed upside down and suspended by its own mast. Placed in the middle of the tropical garden, right next to a mahogany species, the work suggests … Continued
Deleite (1999) is one of the first works of the collection to be assembled in the gardens of Instituto Inhotim, gathering recurring objects and materials in the lexicon of Tunga over four decades of production. Made of iron and leather, the work has a simple structure at its core: a big tripod articulating shafts in … Continued
Escultura para todos os materiais não transparentes (1985) unfolds itself in a namesake series consisting of parts of incomplete spheres of different sizes and materials. Incomplete, this solid shape usually considered of perfect shape, calls attention to the voids between its parts, as well as to the relationship between natural light and the materials used … Continued
The sculpture Gui Tuo Bei (2001) is placed at the end of the avenue leading to the farmhouse of the later farm that is now Instituto Inhotim. It makes reference to monolithic monuments of Chinese tradition, usually carried by a turtle and common in sacred places and public spaces. The engraved text narrates a saying … Continued
Designed by architect Paulo Orsini, Galeria Cildo Meireles was inaugurated in 2004 and, after two years, went through changes in its original project. Currently, there are three works by the artist on exhibition: Através [Through] (1983-89), Desvio para o vermelho: Impregnação; Entorno; Desvio [Deviation into Red: Impregnation; Surroundings; Deviation] (1967-1984), and Glove Trotter (1991). Each … Continued
Inaugurated in 2002, Galeria Mata was one of the first exhibition buildings at Instituto Inhotim, initially called ‘museum’ by the staff. Designed by architect Paulo Orsini, who proposed a light and simple tracing for the building, it has glass panels connecting the inside space of the gallery to the outside. From time to time, it … Continued
Designed by architect Paulo Orsini, Galeria Praça was inaugurated in 2004. It is one of the most visited galleries at Inhotim, and also serves as a meeting point. The name is a reference to its central localization, between the entrance hall, the Inhotim Design Shop, and the crossing of the three visiting axes. In it, … Continued
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
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
Inaugurated in 2009, the gallery is home to Continente/Nuvem [Continent/Shadow] (2008), by Rivane Neuenschwander. It is through the relationship with one of the least outstanding architectural elements that the work takes place: by looking at the translucent ceiling, the spectator can observe the continuous movement of countless backlit styrofoam pellets. The structure doesn’t allow us … Continued