COLLECTION NAME:
Visual Resources Teaching Collection
mediaCollectionId
ArtArtHiAAH~7~7
Visual Resources Teaching Collection
Collection
true
Image Record ID:
aahi0005001
image_record_id
aahi0005001
Image Record ID
false
Work Title (display):
Série Descala
Image Title:
installation view
Work Dates (display):
2002
Work Dates type:
creation
Image Date (display):
2009-09-03
Work Creator (display):
Cildo Meireles (Brazilian, born 1948)
Work Creator gender:
male
work_creator_or_agent_gender
male
Work Creator gender
false
Work Creator notes (display):
Brazilian printmaker and conceptual artist. He began working with art at age 15, eventually studying at the Escola Nacional de Belas Artes and at the engraving workshop of the Escola do Museu de Arte Moderna, both in Rio de Janeiro. His work is influenced by the Neo-Concrete movement, firmly rooted in Brazil's social and political reality. Since the 1960s, Meireles's work has addressed political, social and environmental issues, often under conditions of strict state censorship. Meireles produced two works in the 1970s that circumvented these restrictions. Insertions into Ideological Circuits 1: Coca-Cola Project (Inserções en circuitos ideológicos 1: Projeto Coca Cola; 1970) and Insertions into Ideological Circuits 2: Banknotes Project (Incerções en circuitos ideológicos 2: Projeto dinheiro; 1970) removed everyday objects of mass circulation out of their institutional setting; these objects were then modified through the addition of political statements before being reintroduced into general distribution. On the other hand, his 1973 installation, The Sermon on the Mount: Fiat Lux, fell victim to the political situation and was only publicly exhibited in 1979. Between 1971 and 1973 Meireles lived in New York. He was co-founder of the alternative art journals Malasartes (with fellow Brazilian artists Walter Caldas (b 1946), Tunga and José Resende (b 1945)), and, in 1980, A parte de fogo with Tunga. In 1978 Meireles painted Zero Cruziero, a political commentary on the impact of inflation on the purchasing power of the Brazilian currency. This was followed in 1978 by Zero Centavo, in 1984 by Zero Dollar and in 1990 by Zero Cent. Zero Dollar presented the US dollar, economically dominant throughout the region, as having unchanging monetary value but no cultural worth. Meireles also collaborated on the independent films Desvio para o vermelho ('Red Shift'; 1984), directed by Tuca Morales, and Le faux mounaieur ('The Counterfeiter'; 1984), directed by Frederic Lafomt. His later large-scale installations, Olvido ('Oblivion') and Missão/Missões: como construir catedrais ('Mission/Missions: How to Build Cathedrals'; 1987), are highly polemic comments on the historical and continuing plight of Brazil's indigenous cultures and environmental destruction. (Adrian Locke. "Meireles, Cildo." Grove Art Online. Oxford Art Online. 17 Mar. 2009 .)
Work Style Period:
21st century
work_styleperiod
21st century
Work Style Period
false
Work Style Period:
Contemporary
work_styleperiod
Contemporary
Work Style Period
false
Work Subject:
ladders
subject
ladders
Work Subject
false
Work Subject:
reality
subject
reality
Work Subject
false
Work Subject:
immersion
subject
immersion
Work Subject
false
Work Subject:
interaction
subject
interaction
Work Subject
false
Work Subject:
illusions
subject
illusions
Work Subject
false
Work Subject:
symbols
subject
symbols
Work Subject
false
Work Subject:
experience
subject
experience
Work Subject
false
Work Subject:
infinity
subject
infinity
Work Subject
false
Work Subject:
freedom
subject
freedom
Work Subject
false
Work Subject:
hope
subject
hope
Work Subject
false
Work Worktype:
sculpture (visual works)
work_type
sculpture (visual works)
Work Worktype
false
Work Worktype:
installations (visual works)
work_type
installations (visual works)
Work Worktype
false
Work Category (VRC classification):
sculptures and installations
work_category__ucbaahvrc_classification_
sculptures and installations
Work Category (VRC classification)
false
Work Material and Technique (display):
16 steel units
Work Location (Repository or Site) name:
Venice Biennale
Work Location (Repository or Site) role:
exhibition
Work Location (Geographic) name:
Venice, Italy
Image Source Reproduction citation:
The Experience if Art, Biennale di Venezia, 2005, Volume I
image_source_copy_from_print_name
The Experience if Art, Biennale di Venezia, 2005, Volume I
Image Source Reproduction citation
false
Image Source Reproduction refid:
0-8478-2745-3
Image Source Reproduction page number:
159
Image Source Reproduction refid type:
ISBN
Image Rights (display):
© Cildo Meireles
Image Rights fair use checklist:
1) use of this image is for education and educational research; 2) access is restricted to University of Colorado and Auraria Higher Education Center communities; 3) the original photographer is credited if known; 4) the image is published; 5) the amount of the work in relation to the whole is needed for education or educational research; 6) the number of derivatives is the minimum required for education or educational research; 7) the image has not been found to be reasonably available for sale; 8) duplication of the image does not violate preexisting contracts.
Work Rights (display):
© Cildo Meireles
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Holding Institution:
University of Colorado at Boulder
Collection:
Art and Art History Visual Resources Collection
Collection info and contact:
For information about this collection, see