Marriage

Bernardo Paz donated his collection to Inhotim

By comparison, it would be a repetition of the radical gesture of St. Francis, who was snatched in front of a wealthy father and left his legacy, to continue his role as a missionary. Bernardo Paz, a 73-year-old businessman from Minas, did not reach this far, but followed the Italian religious path, the title of which, coincidentally, was Bernardon. It will donate what is in Inhotim, Brazil’s largest open-air museum. Leads the Peace Donation Project The Inhotim of All and For AllThe purpose of which is to strengthen the public profession of the organization.

In an exclusive interview with Dr. Estadao, Paz announced a grant to the Inhotim Institute, which takes care of the museum he created in 2006. A man who made fortunes with iron ore was accused (and acquitted) of money laundering through Paz Inhotim. After nine years and three months in prison, he went to hell. Judging innocently, he spent two years in isolation, in depression, and was reborn from the ashes to sign the agreement with the Inhotim Institute’s guidance and advisers.

Through this agreement, Inhotim and its Botanical Garden, located in the 140-hectare area of ​​Brumadinho, Minas Gerais, passed into the hands of the Inhotim Institute, along with the entrepreneur’s personal collection, one of the most important collections in the contemporary industry. Brazil. The permanent exhibition contains 330 large-scale works produced by about fifty artists. With the grants announced by the merchants, they were definitely included in the Institute’s Historical Collection, which covers a wide area of ​​Inhotim located between the Atlantic Forest and the rich biome of Serrado. This exclusive garden contains 4,500 species of rare plants from all continents. This is the legacy that Bernardo Paz will leave behind in Brazil and around the world – and remember that 15% of its 350,000 annual visitors (before the epidemic) were foreigners. And there have been 4 million of them since 2006.

To get an idea of ​​what this tradition represents, one of Inhotim’s most visited pavilions, where the installation takes place True Rouge, Parnambuko artist Tungar (1952-2016), has works worth R $ 25 million. The Inhotim Institute spends more than twice as much each year on collection and maintenance of the Botanical Gardens, R $ 60 million, according to its director Lucas Peso. In all, Bernardo Paz responded for R $ 40 million and the rest came from donations through Rouanet Law and the box office. During the epidemic, Inhotim was shut down, which, according to Paz, required an investment of R $ 100 million in maintenance (money paid by the entrepreneur). After the epidemic, the number of visitors dropped from 350,000 to 150,000 a year, but that number has increased since then.

“Inhotim is my life, I gave up everything to do this job,” said Page, despite the doctor’s advice, smoking compulsively (he had a stroke in Paris at the age of 45 and had two recent surgeries). And the work did not stop. Continues in ‘progress’.

Today, with 430 employees (including 100 gardeners), Instituto has resumed work on the Inhotim area hotel (with 45 rooms) and plans to build a new pavilion – as is well known, each with 23 existing pavilions (19 permanent and four temporary) solo. Works. And they are internationally famous names, Matthew Barney from Tunga, including Helio Otisika and Yaoi Kusama.

The idea for creating Inhotim, Paz recalls, came about more than 50 years ago. “In 1971, I was in a luxury hotel in Acapulco, Mexico, when I thought: this is the most beautiful garden in the world, but it is surrounded by a wall that separates the rich guests and the unfortunate locals.” Paz then considered the possibility of creating a more beautiful garden, where the rich and inherited of the society would have access. It may sound like a politician’s speech, but when Paz said that in this second episode of Inhotim, he wants to see the organization more committed to the social inclusion of lesser favorites.

It is running to hear speeches by Bernardo Paz, the founding businessman of Inhotim, on behalf of indigenous and black people – and the open-air museum has just opened a permanent pavilion for photographer Claudia Anduzar, who took Yanomami and a photograph. The trajectory of Abdius do Nascimento and his Black Theater is temporary.

It was the speech of a victimized man, devalued by his father, who included mining companies and made his fortune by planting eucalyptus trees in Seredo, until he ran a consortium of 29 companies in the mining and steel industries. According to pre-epidemic reports, the group was to be sold to a Chinese state-owned company for 2 1.2 billion, which would settle the debt of the partners, but the deal was denied by Paz. “I did not sell anything to the Chinese. My brother Claudio also oversees my business.”

The family is an important nucleus in Paz’s life, having been married several times (once to the painter Adriana Vareza, who has a pavilion in Inhotim). “I donated everything I had here at Inhotim and none of my seven children fought because of my decision,” he concluded. “I can guarantee they were happy.”

To ensure the sustainability of the institute, the businessman resumed construction work on the hotel and will work on setting up an airport in Bromadinho, but he lost his license and has not yet received approval. This is a basic item in a project that wants to attract more foreign visitors, as Inhotim Belo Horizonte is an hour’s drive away. “Outside, when you talk to museum directors and curators about Brazil, everyone thinks of Inhotim,” he said.

Paz formed a council of 20 eminent persons who not only commented on the administration of Inhotim, but also helped preserve the tradition. “Nothing else is fair,” he argues. “If they’re patrons of MoMA and Tate, why not help a Brazilian museum?”

It can be said that the temporary exhibitions opened in the last week of May at Inhotim represent a radical change in the new direction of the Institute (Director Lucas Peso, Artistic Director Julieta Gonzalez and Vice President Paula Azevedo). Now, Inhotim is not only a museum with a huge permanent pavilion for famous artists, but also a center for discussions about contemporary artistic production, especially in government institutions. Evidence of this change is the exhibitions that opened on the 28th, including one by English photographer and filmmaker Isaac Julien, Gay and Black, another on the origins of the Tetro Experimental do Negro, created by director and illustrator Abdias do Nascimento, and two installation poetry, a Rio de Janeiro. Laura Belem of Martins and another Minas Gerais.

Bernardo Paz, founder of Inhotim, is excited about the new, more inclusive stage of Inhotim. “We are the only truly international Brazilian collection, but we need to pay more attention to black and indigenous artists,” he observes, promising to build a pavilion dedicated entirely to the work of African expatriates – and artist Dalton de Paula, born 40 years ago in Brasilia. , Emerges as the perfect candidate to be the central personality. Fair. A former firefighter trained in the visual arts in Guyana, Dalton is a well-known name in the international circuit (his zombie portrait was displayed at the MoMA and the 32nd Binal de Sao Paulo).

Isaac Julien followed the same path, struggling to assert his Afro-ethnic status until he reached a sophisticated production like the film. Looking for Langston, In a temporary exhibition dedicated to the filmmaker by Inhotim. The work, a 42-minute medium-length film made in 1989, is part of Tate Britain’s collection and addresses the life of the American poets Langston Hughes and Harlem Renaissance – the 1920s, the era of revival of African-American culture in music. , Fashion, literature and theater.

It is not a conventional biopic of Julian Hughes (1902-1967), but a documentary of the struggle of blacks for social inclusion and against superstition, in Harlem a century ago or in Margaret Thatcher-era militiamen’s London (1979-1990), all in absolute refinement (black and white). Done. Details: At the funeral of author James Baldwin, Nobel laureate Tony Morrison appears during a text reading in ‘Off’, where the author Giovanni Explains how difficult it was for him to survive as a black and gay man in a hegemonic and intolerant society like American society. Julian looks to Hughes’ poem for similar evidence, where he (who has never publicly acknowledged his homosexuality) speaks of a missing friend.

The founders of pioneering entities such as the Brazilian playwright, politician, activist and painter Abdias do Nascimento (1914-2011), the Tetro Experimental do Negro (TEN) and the Museum of Black Art fell victim to the same racial prejudice. In partnership with the Institute for Afro-Brazilian Research and Studies (IPFRO), the Inhotim Institute has collected paintings, photographs and historical documents in its Galleria da Mata, including a letter from Langston Hughes in 1954 stating his plays. , By TEN (which began with a montage Emperor JonesBy Eugene O’Neill, in 1945, for the first time a black actor set foot on the Municipal Carioca stage).

Abdiyas, a descendant of slaves whose grandmother suffered in the Zucker shelter, was so persecuted by Getulio Vargas (who censored his plays) Spell) And military dictatorship. He set up a theater group at Karandiru Prison, and after AI-5 became effective in 1968, he moved to the United States, where he became a teacher and painter. The exhibition includes paintings produced by Abdiyas, his paintings with the Afro-Brazilian religious universe, and canvases of great black painters such as Rubem Valentim.

Although it does not directly address the plight of black people, the installation is now fitted to Inhotem by Rio de Janeiro artist Arjan Martins, Windsorx (2021), dealing with immigration, expatriates and historical colonial movements in the Afro-Atlantic region. Arzan uses “Windsuck” to color the weather-related navigation code, a metaphor for the turmoil we live in.

Another song moment of the new Inhotim Vintage is the installation Loving, By Laura Belem, already presented at the Venice Biennale. On the lake, two rowing boats, equipped with spotlights and facing each other, replace the human presence with lights that come in 20-second intervals, reversing the sequence until the cycle is automatically restarted. This is a great example for Inhotim, who has moved on from the darkness of the plague to the new age.

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