Installed in one of the highest points of Instituto Inhotim, Beehive Bunker (2006) simulates a warlike protection structure, sort of a surveillance post that can be occupied by one single person. The use of this kind of solitary fortification, a military structure made popular during World War II (1939-1945), reflects Chris Burden’s concern with political … Continued
One of the keys to interpret Inmensa (1982-2002) is precisely in its title: at the same time the Latin expression in mensa means ‘over the table,’ its sound recalls the term immense, a reference to its height of eight meters. This work by Cildo Meireles is a version based on the homonymous piece created in … Continued
In untitled (2001), Edgard de Souza revisits the bronze statuary tradition between the 17th and 19th centuries, an important reference of his work. The midsection is the point of contact between two bodies – that then become, at the same time, two and one. It is possible to recognize a couple, but also one single … Continued
The three sculptures by Edgard de Souza are part of a cast bronze series developed over the 2000s. The silhouette makes reference to a male figure, based on the artist’s own body on a small scale. At Instituto Inhotim, the works were grouped for the first time on top of an elliptic concrete base. Disposed … Continued
In Elevazione (2001), Giuseppe Penone restates his interest in nature not only by using organic and perishable elements, but specially with the incorporation of the passage of time as a work element. Here, a fallen centenary chestnut tree found in the gardens of the Palace of Versailles (France) was molded and later cast in bronze. … Continued
Troca-troca (2002) is a work by Jarbas Lopes composed of three colorful Volkswagen Beetles, originally yellow, blue, and red, that had their bodies interchanged, resulting in three multicolored cars. They were used by the artist and a group of friends on a trip from Rio de Janeiro to Curitiba, in 2002. The communication between the … Continued
Magic Square #5 (1977) was built posthumously, following the instructions left by Hélio Oiticica in texts, plans, models, and samples. The term square, meaning equally a ‘plaza’ and a geometric figure, unveils essential elements in the artist’s thinking: the interest in public space as a meeting point, and the heritage of geometric tradition in his … Continued
The works of John Ahearn and Rigoberto Torres portray the usages and traditions of communities close to Instituto Inhotim. Both Abre a porta (2006) and Rodoviária de Brumadinho (2005) are the result of a long immersive process of the duo in the daily life of Brumadinho. In the first mural, one can see the representation … Continued
John Ahearn and Rigoberto Torres work as a duo since 1979, when they initiated projects of naturalist sculptures created after their relationship and involvement with members of different communities. African and Spanish Americans living in the Bronx (peripheral borough of New York City) posed as models for many of these works. At first, the works … Continued
Untitled (2001) is one of the most relevant examples of Amilcar de Castro’s late trajectory. Still in the 1950s, the sculptor developed a technique ruled by seamless operations, based only on cuts and folds of single metal sheets. Here, the use of weathering steel as raw material, rusting over time, just as the use of … Continued