290:, contains a washbasin attached to the wall at a 30° angle illuminated by a direct beam of overhead light. A red stream pours into the washbasin from a tap, also at a 30° angle, allowing the liquid to pool in the sink before draining. The feelings of disturbance experienced by the participant throughout the installation culminate in this final room. Since the room is completely dark, the sole focus is placed on the washbasin. While the connotations of blood which appear throughout the installation are at first rather vague, like in the initial saturation of red in the first room and in the ink spill of the second room, in the third room this association with blood becomes much more explicit, creating a final, visceral reaction to the color within the participant.
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275:, is approximately 50 m and filled with a number of everyday, domestic objects in a variety of different shades of red. The effect is an overwhelming visual saturation of the color. Upon entering the room, the participant experiences an initial shock from the visual inundation of red. Dan Cameron writes that "one's gaze is literally thwarted in an effort to gain a purchase on the specificity of things." Because of its lack of chromatic differentiation, the environment appears to lack depth. Cameron argues that the longer a participant stays in the room the more aware they become of the color's negative, unsettling psychological impact on them.
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the space. Furthermore, the sound of crunching glass underfoot while navigating the maze can be off-putting. He wanted the participant to experience psychological tension between the appreciation of the sonic and the appreciation of the visual. The work, Meireles says, "is based on the notion of an excess of obstacles and prohibitions." Meireles drew some of his inspiration for this installation from writer
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object, but it is meant to be as richly symbolic, sensuous and potent as an amulet. Each half of the tiny 9mm by 9mm by 9mm cube is made of pine and oak. These two types of wood are considered sacred by the Tupi people of Brazil. The title refers to an unofficial geographical (and metaphysical) region that lies to the west of
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political. It is a caution against indifference, especially against indifference towards Brazil's fading indigenous population. The tiny cube is meant to be placed alone in the middle of an empty room in order to emphasize the reality and the power of indigenous belief systems in the context of
Eurocentric modernism.
465:. It featured twelve of his most important works. Another important retrospective took place at SESC Pompeia from September 2019 to February 2020. In the exhibition entitled "Entrevendo" (Glimpsing) many of his most noteworthy installations were on display and an important catalogue was created for the exhibition.
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is the sense of psychological unease that comes from the participant's realization of the different sensory capacities and capabilities between the eyes and the body. For instance, the eyes can see through the glass parts of the work, but the body is physically impeded from passing through parts of
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and consists solely of a large pool of red ink spilled from a small bottle on the floor, evoking mental associations with blood. The amount of liquid on the floor in comparison to the amount which the bottle could conceivably hold is disproportionate. The redness on the floor extends throughout the
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Meireles has stated that drawing was his main artistic medium until 1968, when he altogether abandoned expressionistic drawing in favor of designing things that he wanted to physically construct. A topic that he especially explored in his art was the concept of the ephemeral and the non-object, art
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In an interview with Nuria
Enguita, Meireles described a time when he was "seven or eight" and living in the countryside that had a huge impact on him. He said that he was startled by an impoverished man wandering through the trees. The next day, the young Meireles went to investigate, but the man
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A minimalist sculpture, on a
Lilliputian scale: Meireles calls it an example of “humiliminimalism” – a humble brand of minimalism. He wanted it to be even smaller, “but when sanded it down to nails, lost patience and stopped at nine millimeters." Unlike most minimalist sculptures it is no mere
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takes on political undertones when examined in light of Brazil's military dictatorship which lasted throughout the creation and exhibition of this piece. For instance, the red liquid pouring into the washbasin has been seen by some art historians as a visual representation of the blood of victims
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also has autobiographical meaning for
Meireles, as radio was a common method of widespread communication in Brazil during the artist's youth. The work also speaks to globalization. Meireles parallels the unity of humanity before the fall of the Tower of Babel with the present-day unity which has
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to be perceived as a physical representation of the memory of the Tupi ("people whose history is legends and fables") and a warning to modernity of the growing self-confidence of the primordial which will eventually result in an overtaking of the urban by the natural. Meireles' statement is also
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A labyrinthine structure which invites the visitor to walk across eight tons of broken plate glass. The maze is composed of "velvet museum ropes, street barriers, garden fences, blinds, railings, and aquariums" and in the center of it is a three-meter ball of cellophane. Meireles notes that an
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in 1964, Meireles became involved in political art. When
Meireles was "first getting started as an artist," governmental censorship of various forms of media, including art, was standard in Brazil. Meireles found ways to create art that was subversive but subtle enough to make public by taking
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was based upon three principles as defined by
Meireles: 1) In society there are certain mechanisms for circulation (circuits); 2) these circuits clearly embody the ideology of the producer, but at the same time they are passive when they receive insertions into the circuit; 3) and this occurs
315:. According to Meireles in a statement he made about the artwork in 1970, this region is "the wild side, the jungle in one's head, without the lustre of intelligence or reason...our origins." It is a place where "there are only individual truths." In the same statement, he notes that he wants
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bottles that were supposed to encourage the buyer to become aware of their personal role in a consumerist society. The project simultaneously conveyed anti-imperialist and anti-capitalist messages. Building off of that concept, Meireles also used money as a theme and produced his own replica
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was to literally insert some kind of counter-information or critical thought into a large system of circulated information. Meireles inserted something that is physically the same, though ideologically different, into a pre-existing system in order to counteract the original circuit without
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as one of the greatest works of art of the 20th century because it "seamlessly dissolved the border between art and life, fiction and reality." Recreating this concept of total audience investment was an important artistic goal of
Meireles that is seen throughout his body of work.
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Meireles unintentionally participated in a political demonstration in April 1964, when he was sixteen years old. He has cited this moment has his "political awakening" and began to take an interest in student politics. In 1967 he moved to Rio de
Janeiro and studied at the
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was gone and only a small but perfect hut the man had apparently made the night before remained. Meireles said that this hut "was perhaps the most decisive thing for the path followed in life...The possibility one has of making things and leaving them for others."
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Art historian Anne
Dezeuze has commented that the "cinematic" installation as a whole articulates a certain sense of menace within participants because of the intense repetition of the color red throughout the three rooms. Like most of Meireles' other artworks,
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project, which he began in 1968. This project was "based on
Euclidian principles of space" and sought to show how objects in space can be defined by three different planes. He modeled this concept as a series of environments made to look like corners in rooms.
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acknowledges the multiplicity of language that resulted from the Tower's destruction in the story. The artwork contradicts the notion of one universal language, emphasizing that the pursuit of commonality is futile. Paul Herkenhoff points out that
119:. He is noted especially for his installations, many of which express resistance to political oppression in Brazil. These works, often large and dense, encourage a phenomenological experience via the viewer's interaction.
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which he later incorporated into some of his works in order to highlight their marginalization in, or complete disappearance from, Brazilian society and politics. Installations which contain allusions to the Tupi include
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inspiration from Dadaist art, which he notes had the ability to seem "tame" and "ironic." In the early 1970s he developed a political art project that aimed to reach a wide audience while avoiding
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movement. These artists, as well as Meireles, were all concerned with blurring the boundary between what is art and what is life, and responding to current political situations within their pieces.
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Meireles considers his first exhibition to have taken place in 1965, when one of his canvases and two of his drawings were accepted by the Segundo SalĂŁo Nacional de Arte Moderna in Brasilia.
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disrupting it. The project was achieved by printing images and messages onto various items that were already widely circulated and which had value discouraging them being destroyed, such as
458:. This exhibition then moved to the Museu d'Art Contemporani in Barcelona, and later to the Museo Universitario Arte Contemporáneo (MUAC) in Mexico City until January 10, 2010.
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An art project with political undertones that was designed to reach a mass-audience. This project manifested in multiple ways, two of the most well-known being the
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A large-scale, three-room exploration of an entirely red environment. The title of the installation refers both to the scientific concept of chromatic shift (or
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banknotes and coins (1974–1978) which appeared very similar to genuine Brazilian and US currency but with zero denominations clearly written on them, e.g.
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He was one of the founders of the Experimental Unit of the Museu de Arte Moderna in Rio de Janeiro in 1969 and in 1975, edited the art magazine
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135:. He was especially interested in how this has been explored in animated film. His father, who encouraged Meireles' creativity, worked for the
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391:. Meireles also wanted the participant to experience feelings of awareness and attentiveness that come from walking a labyrinth.
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410:. In the story, before the destruction of the Tower of Babel by God, every person on Earth spoke the same language. Meireles'
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Herkenhoff, Paulo. "Learning and Dislearning to be Global: Questions at 44°53′ N, 93°13′ W, and 22°54′24″ S, 43°10′21″ W."
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small room to the edge of the darkened third room, an effect which lends itself to feelings of foreboding and uncertainty.
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A tower of hundreds of radios, each just audible and tuned to stations of different languages to evoke resonances of the
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that only exists with interaction, which prompted him to create installation pieces or situational art. This led to his
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Farmer, John Allen. “Through the Labyrinth: An Interview with Cildo Meireles.” Art Journal 59, no. 3 (2000): 34-43
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bottles (which were recycled by way of a deposit scheme) and banknotes. Meireles screen-printed texts onto the
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and in 2008 he won the Velazquez Plastic Arts Award, presented by the Ministry of Culture of Spain.
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Cameron, Dan, Paulo Herkenoff, and Gerardo Mosquera. Cildo Meireles. London: Phaidon Press, 1999.
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in October 2008. Meireles was the first Brazilian artist to be given a full retrospective by
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in New York in 1999. It then traveled to the Museu de Arte Moderna in Rio de Janeiro and the
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From March to July 2014 a major retrospective of Meireles's work was presented at Milan's
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by Dan Cameron, Paulo Herkenhoff, and Gerardo Mosquera. London: Phaidon Press, 1999
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by Dan Cameron, Paulo Herkenhoff, and Gerardo Mosquera. London: Phaidon Press, 1999
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Conceptual Art in an authoritarian political context. Brazil, BrasĂlia: 1967 – 1979
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He began his study of art in 1963 at the District Federal Cultural Foundation in
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Farmer, John Alan. "Through the Labyrinth: An Interview with Cildo Meireles",
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Cohen, Ana Paula. "Cildo Meireles: Museu de Arte Moderna Aloisio Magalhaes",
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in 1948. From an early age, Meireles showed a keen interest in drawing and
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Weinstein, Joel. "Industrial Poetry: A Conversation with Cildo Meireles",
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The first extensive presentation of the artist's work in the UK opened at
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745:"A Tiny Wooden Cube as a Site of Crosscultural Friction and Collision"
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During his time in rural Brazil, Meireles learned the beliefs of the
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Carvalho, Denise. "Cildo Meireles: New Museum of Contemporary Art"
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Meireles, Cildo and Charles Merewether. “Memory of the Senses.”
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resulted from globalization despite numerous language barriers.
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Basualdo, Carlos. "Maxima Moralia: The Work of C. Meireles",
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387:, whose subject matter sometimes included the concept of the
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and their family traveled extensively within rural Brazil.
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Materiality and Memory: An interview with Cildo Meireles
768:"A Labyrinthine Ghetto: The Work of Cildo Meireles." in
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Gilmore, Jonathan. "Cildo Meireles at Galerie Lelong",
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Cameron, Dan, Paulo Herkenhoff, and Gerardo Mosquera.
439:. In conjunction with the exhibition, a book entitled
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Meireles currently lives and works in Rio de Janeiro.
181:. In the late 1960s, Meireles discovered the work of
614:. New Haven: Yale University Press, 2008. 223-226.
431:A retrospective of his work was presented at the
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1021:Zamudio, Raul. "Cildo Meireles at Tate Modern",
1025:v. 8. no. 73 (June/August, 2009) p. 76-78.
668:, Museu de Arte Moderna. Rio de Janeiro: 1984.
366:), "Yankees go home!" and "Direct elections."
1043:Review of Cildo Meireles at Tate Modern, 2009
526:Enguita, Nuria. "Places for Digressions." in
1056:The artist talks about his interactive work
1028:Zamudio, Raul. "Knowing Can Be Destroying",
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808:"Putting an Olive Stone into a Bottle"
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244:In 1999, Meireles was honoured with a
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612:Readings in Latin American Modern Art
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341:Insertions Into Ideological Circuits
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543:Guardian: Living dangerously
503:"Tate: About Cildo Meireles"
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892:How Latitudes Become Forms
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1011:(London: Phaidon), 1999.
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997:. Valencia: IVAM, 1995.
664:(Red Shift), 1967-84".
271:The first room, called
163:' 1938 radio broadcast
159:(1990). Meireles cites
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931:Review on Frieze.com
718:Valencia: IVAM, 1995
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560:2009-03-10 at the
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81:Concrete art
1093:1948 births
981:Art Journal
452:Tate Modern
424:Exhibitions
360:Zero Dollar
313:Tordesillas
187:Lygia Clark
148:Tupi people
1087:Categories
917:2014-12-03
877:2008-11-01
843:2008-11-01
817:6 December
793:2008-11-01
754:15 January
647:2008-11-01
513:2008-11-01
469:References
239:Malasartes
228:censorship
1016:Sculpture
967:Art Nexus
960:Sculpture
389:labyrinth
373:(1983-89)
355:Coca-Cola
351:Coca-Cola
339:project.
333:Coca-Cola
327:(1970-76)
306:(1969-70)
296:Red Shift
260:(1967-84)
258:Red Shift
252:Key works
1023:ArtNexus
558:Archived
447:(1999).
337:Banknote
175:Brasilia
117:sculptor
77:Movement
812:InEnArt
749:InEnArt
406:in the
380:Through
371:Through
230:called
49: (
398:(2001)
208:Career
157:Olvido
98:, 1999
92:Awards
62:Brazil
417:Babel
412:Babel
408:Bible
396:Babel
288:Shift
37:MACBA
819:2013
756:2014
456:Tate
185:and
123:Life
115:and
51:1948
47:1948
44:Born
1066:at
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