‘A man climbs a mountain because it’s there. A man makes a work of art because it isn’t there.’ (Carl Andre)
Carioca, prekursor instalacji w Brazylii, Cildo Meireles rozpracowuje przestrzeń, tak aby jego prace angażowały całkowicie i imersyjnie odbiorcę. Bawi, krytykuje i intryguje. Rozwala systemy w jakich żyjemy i śledzi połączenia jakie nasze ciała i umysły odwzorowują i wytwarzają w świecie politycznym, społecznym i kulturowym.
Cildo Meireles przenikliwie i nowatorsko prześwietla rzeczywistość Brazylii i buduje nowe warstwy narracji kulturowej i historycznej w tamtym kraju. Zmierza się z materialnością i brakiem, scala i wykorzystuje obiekty podstawowe, przemysłowe, nadając im nowe znaczenia i treści.
"Conceptual art reveals a great deal of generosity by affirming anyone’s ability to make art, even when deprived of economic or technical conditions. In other words, early on, Conceptual art allowed Brazilian precariousness to be appropriated on various levels as a positive factor for formal creativity. It is not, however, a matter of aestheticising poverty, but of giving a voice to a multitude of individuals." (Cildo Meireles)
CV
1948 - ur. Rio de Janeiro
1971-1973- NYC
edukacja:
Fundação Cultural do Distrito Federal
Escola Nacional de Belas Artes
Centro Integrado de Ensino Médio
ważniejsze wystawy:
1967- debiut w Museum of Modern Art w Salvador, Bahia
‘Information – Summer 1970’, w Museum of Modern Art
Bienale w Wenecji, 1976;
Bienale w Paryżu, 1977;
bianale w São Paulo, 1981, 1989 i 2010; wystawa monograficzna w The New Museum of Contemporary Art, w Nowym Yorku, w 1999;
wystawa monograficzna w Tate Modern, Londyn 2008;
"Remember that the work is not what we see in a museum exhibition. It’s not the bank notes or the Coca-Cola bottles. These objects are only relics. The work itself has no materiality. And it is ephemeral. It only exists when someone is interacting with it. In this respect, it’s much more connected with the concept of the anti-object or the nonobject. " (Cildo Meireles)
tematy poruszane
przepływy, obwody idei i wartości, opór wobec dyktatury wojskowej, kolonializm, niewolnictwo, historia
dziedziny i kierunki sztuki:
na początku rysunek, potem sztuka konceptualne, rzeźby, instalacje, ready mades
miejsca
Rio de Janeiro - w tym mieście założył z przyjaciółmi w Muzeum Sztuki Współczesnej wydział eksperymentalny, w 1969 roku.
Inohtim- galeria sztuki, położony w stanie Minas Gerais, założony przez magnata Bernardo Paza, W Inohtim wystawiane są obecnie monumentalne prace Meirelesa, m.in. Desvio para o vermelho I: Impregnação, II: Entorno, III: Desvio, materiais diversos, 1967-84, Através, 1983 - 1989;
Brasilia- Meireles dorastał w tym mieście, jak było ono na nowo budowane wg. projektów Niemeyera.
najważniejsze prace
"Glove Trotter"
"Desvio para o vermelho" (Red Shift)
"Através" (Through) "The installation Através (Through) 1983–9 was born from the sound and visual perception of a sheet of cellophane being crumpled into a ball, which had been tossed into a waste paper basket. I used shards of glass being trodden upon in my initial attempt to transpose that perception of sound to the field of art. I then added observations about the surroundings of my mother’s home on the outskirts of Brasília – the way barriers began to appear between the houses (which originally communicated freely with one another), mixing and narrowing the boundaries between the front and back yards, successions of doors and construction site fences, creating narrow, claustrophobic corridors. Através is about those limits, impediments and boundaries which – even though they are resistant – do not prevent the gaze from piercing them. The cellophane ball in the centre of the structure is the only item which the gaze does not pierce. Ultimately, artistic creation is a sarapatel [a highly spiced stew made with blood, pork or lamb tripe and giblets; colloquially, it signifies pandemonium, a disordered mixture of things, a mess]. "
Insertions into the ideological circuits Coca Cola project 7, 1970
"The insertions are a negation of authorship, of copyright. They aren’t works of art, they are propositions for action and participation."(Cildo Meireles).
Missão/Missões [Mission/Missions] (How to Build Cathedrals), 1987 . Instalacja powstała z 600,000 monet (podłoga), 800 hostii i 2,000 zawieszonych kości, oświetlenia oraz tiulu.
połączenia i wpływy:
readymades, Marcel Duchamp, Roman Opałka, Lygia Clark
kontekst:
1964-1985- dyktatura wojskowa, popierana przez Amerykanów
1985-1988- transformacja demokratyczna
XVI-XIX- około 5 milionów niewolników zostało sprowadzonych do Brazylii
brazylijska gospodarka kolonialna opierała się na zniewolonej pracy w rolnictwie (trzcina cukrowa) i w górnictwie (złoto, srebro, diamenty). Bogactwa jakie przyniosły one koronie, częściowo też przyczyniły się do majestatycznych, złoconych katedr
o swojej sztuce
" In the early years of my artistic activity, I drew tirelessly. In the beginning, I was hugely influenced by African art, which I saw at an exhibition that had travelled to Brasília in 1963, when I was fifteen. What I found attractive about it was its extreme elegance, synthetic capacity and economy of form. "
o cyklu Insertions into the ideological circuits:
"So on 13 January 1970 I started putting insertions into newspapers. I placed a small advertisement in the Jornal do Brasil which read simply: ‘Área 1, Cildo Meireles, 1970.’ On 3 June 1970 I published another small ad which read: ‘AREAS – Vast. Wild. Faraway. Letters to Cildo Meireles, Rua Gal. Glicério, 445, apt. 1003, Laranjeiras, GB.’ It was a reference, among others, to the threat of the occupation of the Amazon by foreigners. Yet there were other circuits, some of which were created spontaneously, such as the chain letters which promise to bring good luck and money, and others that already existed, such as returnable beer or pop bottles and paper currency, both of which could be used as supports for new forms of intervention. The two earliest insertion projects involved banknotes and recyclable glass Coca-Cola bottles, dated April and May 1970. For Inserções em Circuitos Ideológicos: Projeto Cédula (Insertions into Ideological Circuits: Cédula Project) I rubber stamped a one cruzeiro note with the question: ‘Who killed Herzog?’ This referred to the suspicious death in prison of the journalist Wladimir Herzog."
" Sure, we’re always influenced by what we did before, just as, in a way, we’re always influenced by what other artists we admire have done or still do. We’re all a bit like snails, carrying around our house, our universe.’
Comentarios