contemporary art, installation

Inhotim (1/3): Utopia VS Reality

Cildo Meireles, Desvio para o vermelho: Impregnação & Entorno, 1967-1984

Cildo Meireles, Desvio para o vermelho: Impregnação & Entorno, 1967-1984

Suddenly, the asphalt feels softer under the wheels, the road seems much better, and the annoying lombadas have disappeared (“speed bumps” in Brazilian Portuguese). Suddenly, there are no more half-built, half-derelict houses, no more chaotic city plans and anarchic urban design, no more posters for fortune tellers or Evangelical churches, no more kids running everywhere. Suddenly –once you pass the armed guards at the entrance–, you find yourself in another Brazil, without chaos, poverty, disorder or corruption (well, almost). Like in Baudelaire’s poem, in this rich, calm, serene Brazil –the opposite of the actual Brazil, of everyday Brazil–, it is nothing but “ordre et beauté, luxe, calme et volupté.” Welcome to Inhotim! First and foremost a huge garden of 2000ha in the middle of Brazil (the French daily Libération titled its reviewCollection d’hectares contemporains”, a play on “art contemporain”), Inhotim is the largest open-air museum of the American continent, if not the world, with several buildings harboring artworks and plenty of outdoor sculptures and installations. It is also the realization of Bernardo Paz’s megalomaniac dream; the infamous self-taught straight-talking businessman, who earned his fortune through the intensive exploitation of the region’s mines, has declared, however: “I have no passion for art, but I love gardens,” and “I do not understand art, I do not understand Picasso.”

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