Activation - FEMSA Collection
For a period of four weeks (August 28th – September 25th, 2017) an artwork from FEMSA Collection will be installed in one of the several rooms in Casa Luis Barragán to establish a dialogue with the house and its legacy, accentuating the importance of the spaces created by the architect.
For this second activation from FEMSA Collection, an artwork by Brazilian artist Cildo Meireles has been installed in the horseback riding closet that belonged to Luis Barragán. The way in which the work is displayed, it encourages a direct interaction with the furniture, architecture and light in the given space; with this patrimonial oeuvre an experience of paradoxical perception experience is created.
The concept of the piece has two functions, one as a flexible object, the object per se, and one as container and content. Furthermore, the artwork by Meireles, delimits its own object physique and measures the extension and size of its surroundings.
Rio de Janeiro, Brasil
Cildo Meireles was born in Rio de Janeiro but moved to Brasilia during his youth, where he first met the modern and contemporary art sphere. In 1963, Meireles began his art and focused his development in the production of figurative and expressionist photography. Nevertheless, during this period he was also involved with the Brazilian neo-concrete artists whom aspired to ponder about art as a language that transcended the mere visual extent.
As part of the carioca neo-concrete and modernist movement, Meireles accomplishes to inclined himself towards the critical and ethical use of the physical, intellectual and sensorial elements as a disapproval against the ideological system concerning the social and economic aspects during the period of time of the military dictatorship in Brazil and its following decades.
In 1967 he returned to Rio de Janeiro, where he completely abandoned the figurative and expressionist language to center himself in the creation of abstract tridimensional pieces. In that same year, he produced his first installation named Desvio para o Vermelho (Diversion in Red) for the Museum of Modern Art in Rio de Janeiro. Fontes, considered one of his most complex and ambitious projects, positioned him as an installation pioneer in the art world.
From 1971 to 1973 he lived in United States, where he completed his conceptual language and emphasized in the appropriation of art objects. In the mid-70s, he explored the sensorial and visual characteristics of the objects used in his installations, creating sculptures that analyzed the conceptual and aesthetic values of geometry.
During the beginning of the 80s, Meireles returned to his former artistic phase to incorporate pictorial elements in his installations and sculptures. Simultaneously, the artist also began to create interactive installations with objects and materials, such as fences and wiring, compounding mazes with a difficulty to navigate through the areas.
In 2008, Tate Modern in London, organized a retrospective of his work placing him as the second Brazilian artist to receive this acknowledgement. In that same year, Meireles was awarded the Premio Velázquez de Artes Plásticas from the Spanish Government, and the Ordway Award granted by the New Museum in New York. In 2013, the Museo Nacional Centro de Arte Reina Sofía in Spain, and the Fundação de Serralves, in Portugal, organized the second retrospective of the artist. Meireles’s artwork and trajectory have been recognized several times with numerous retrospectives in Brazil, Finland France, Mexico, Spain, United Kingdom and United States, among other countries.
© Estancia FEMSA, 2017. Photographs by Roberto Zempoaltecatl for FEMSA Collection.