Memory, politics and counter-pedagogy in Inhotim

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Last April, the Inhotim Institute inaugurated its 2024 program, with a focus on contemporary art that invites critical and aesthetic reflection. Under the artistic direction of Julia Rebouças and the collaboration of curators Beatriz Lemos, Douglas de Freitas, Marília Loureiro, as well as curatorial assistants Deri Andrade and Lucas Menezes, three notable exhibitions are presented that stand out both for their conceptual depth and for their visual impact.

O Barco | The Boat (2021), by Grada Kilomba

Curated by Julia Rebouças and Marília Loureiro, “O Barco | The Boat” is the first work by Grada Kilomba to be presented in our region. This monumental sculpture-performance combines wooden blocks that are burned to draw the silhouette of a boat, as an evocation of the boats used in the slave trade from Africa. The work is striking not only for its scale and historical representation, but also for the inclusion of 18 blocks with fragments of a poem by Kilomba, recorded in multiple languages, including Yoruba, Kimbundu and Syrian Arabic, which underlines the universality and diversity of the voices affected by this story.

Kilomba, author of the book Memories of the Plantation, introduces here her concept of “principle of absence”, a key element to understand racism in colonial modernity

The piece is activated with a performance that includes percussionists, dancers, and an opera and gospel choir from Portugal; it integrates multiple forms of artistic expression to deepen the collective memory and sensory experience of the audience. Kilomba, author of the book Memories of the Plantation, introduces here her concept of “principle of absence”, a key element to understand racism in colonial modernity. This idea is powerfully reflected in “O Barco”, a work in which physical absence becomes an omnipresent reminder of the lives and cultures devastated by colonialism.

Grada Kilomba, with her book Memories of the Plantation (Tinta Limon, 2023) and the piece “O Barco | The Boat”, establishes a powerful bridge between theory and practice in contemporary art, challenging historical narratives and questioning collective memory. Memories of the Plantation delves deeper into the colonial experience and structural racism, and introduces the “principle of absence” as a critical tool for understanding how colonial modernity has erased and distorted African stories and presences. Kilomba explores how racism is perpetuated, not only through visible acts of discrimination, but through the systematic erasure of the cultural and physical presence of Black bodies in history.

Kilomba explores how racism is perpetuated, not only through visible acts of discrimination, but through the systematic erasure of the cultural and physical presence of Black bodies in history.

Esconjuro| Paulo Nazareth

The exhibition “Esconjuro” [Conjuring], by Paulo Nazareth, curated by Beatriz Lemos and Lucas Menezes, is presented as a powerful intersection of art, politics and spirituality. Paulo Nazareth, known for his deeply critical and poetic approach to history and identity, takes us in this exhibition to explore the concept of “esconjuro”, a form of conjuring that invokes protection and resistance.

Nazareth, through a series of installations, performances and multimedia works, examines the narratives of the African diaspora and the indigenous cultures of Latin America. The exhibition focuses on the idea of protection against the oppressive forces of colonialism and modernity, using art as a means to exorcise and heal historical wounds. The works presented are an amalgamation of everyday objects, religious symbols and organic materials that create a space that is both ritualistic and reflective.

One of the centerpieces of “Esconjuro” is an installation of found and recycled objects that Nazareth has collected during his travels through Latin America and Africa. These objects, ranging from agricultural tools to religious artifacts, are arranged in ways that evoke altars of protection and resistance. The curatorship by Lemos and Menezes highlights the capacity of these objects to tell stories of struggle and survival, transforming the exhibition space into a sanctuary for memory and resistance.

Audience participation is essential in “Esconjuro.” Nazareth’s performances invite visitors to become an active part of the conjuring process, creating a dynamic dialogue between the artist and the viewer. These interactions not only enrich the aesthetic experience, but also underscore the urgency of a collective reflection on history and identity.

“Esconjuro” is an exhibition that not only celebrates cultural and spiritual resilience, but also challenges the viewer to confront the oppressive narratives of history. Through sensitive curatorship and a bold artistic proposal, Paulo Nazareth, Beatriz Lemos and Lucas Menezes offer a platform for healing and empowerment, reaffirming the role of art as an agent of social and cultural change in the contemporary context.

Ensaios sobre paisagem| Aislan Pankararu, Ana Claudia Almeida, Castiel Vitorino Brasileiro, Ze Carlos Garcia

The exhibition “Ensaios sobre paisagem”, curated by Douglas de Freitas and Deri Andrade, offers a deep and contemplative exploration of an expanded relationship with so-called nature. This exhibition brings together several artists whose works invite us to reflect on nature, ecology and human interaction with the landscape.

Aislan Pankararu’s work is highlighted for its focus on the spiritual connection of indigenous peoples with their natural environment. Aislan, an indigenous artist from the Pankararu community in Brazil, uses his work to reclaim the identity and ancestral knowledge of his people, establishing an intimate dialogue between nature and indigenous culture.

On the other hand, Ana Claudia Almeida’s work stands out for her poetic and critical exploration of the relationship between humanity and nature. Almeida, a contemporary artist known for her interdisciplinary approach, uses her work to investigate how landscape influences our cultural perceptions and experiences.

Likewise, Castiel Vitorino Brasileiro’s work emerges as a deeply emotional and spiritual exploration of landscape and identity. Castiel, an artist, writer, and psychologist deeply interested in collective healing processes, uses her work to address themes of ancestry, healing, and intimate connection between the body and the earth.

One of Castiel’s featured pieces in this exhibition is “Corpo-Flor”, a series of self-portraits and performances that fuse the human body with natural elements, such as earth, water and medicinal plants. In these works, the artist’s body becomes a living landscape that symbolizes the interdependence between personal identity and the natural environment. The self-portraits, often accompanied by poetic texts, invite the viewer to reflect on their own relationship with nature and cultural heritage.

For its part, the work of Ze Carlos Garcia stands out for its innovative reinterpretation of the northeastern natural environment and its ability to evoke an intimate connection with nature. Garcia, an artist known for his ability to transform natural materials into evocative sculptures, presents pieces that invite viewers to reconsider the beauty and complexity of the landscapes around us.

A notable work by Garcia in this exhibition is “Raices entrelazadas” (Intertwined Roots), a sculptural installation that uses collected branches, roots, and trunks to create organic forms that appear to emerge directly from the gallery floor. These meticulously assembled sculptures suggest a narrative of growth and connection that symbolize the interdependence between all living beings and their environment.

For more information about this and all the artistic, educational, musical and botanical garden programming, you can consult the Inhotim Institute site.