Inhotim: At the Crossroads of Glocal Change


Inhotim & Inter-American Development Bank

is Inhotim’s
first international exhibition. This initiative is the result of a
cooperation with the Inter-American Development Bank (IDB), which
views Inhotim as an agent for positive “glocal” change in light
of the harmonious way in which human creation and nature seem to go
together, hand-in-hand, there. The name of the exhibition derives
from the term “glocal,” which refers to the relationship of
interdependence between the local and global contexts, in which local
actions and events resonate globally and transformations on the
global scale affect local circumstances.

Inhotim and IDB presents (2017) by InhotimInhotim


Inhotim: At the Crossroads of Glocal Change brings together works by four artists from the Inhotim – Iran do Espírito Santo, Luiz Zerbini, Olafur Eliasson and Vik Muniz –, audiovisual experiences inspired by the botanical garden and a narrative line with texts that deal with history, concepts And practices related to the Institute.In the next course, you'll have access to images of the works on display, the complete videos and texts that run through the walls of the gallery, rearranged here for a better experience on the Google Arts & Culture platform. Enjoy!

Aerial view of Inhotim (2010) by InhotimInhotim

Living Landscape

What is Inhotim? It is challenging to define this vast space, covered by forests, gardens and artworks, located in the center of Brazil. It is perhaps summed up best by its singular and iconic landscapes of gardens rich in diverses species, contemporary art shown in the open air and in galleries whose architecture is in dialogue with the artwork. This is all coupled with educational activities and public programs that apply scale, shape, color and life to the landscape and to the experience of Inhotim.

I Believe (1992/2000) by Olafur EliassonInhotim

"I Believe" (1992-2000), by Olafur Eliasson, on display at the IDB Cultural Center, at the "Inhotim: at the Crossroads of Glocal Change"

Inhotim: Living Landscape (2017) by InhotimInhotim

Copo d'Água (2017) by Inter-American Development BankInhotim

“Water Glass” (2006-2007), by Iran do Espírito Santo, on display at the IDB Cultural Center, at the exhibition "Inhotim: at the Crossroads of Glocal Change".

Copo d'Água (2006/2007) by Iran do Espírito SantoInhotim

Copo d'Água, Iran do Espírito Santo, 2006/2007, From the collection of: Inhotim
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#InhotimDC (2017) by InhotimInhotim

With Open Doors

Joana (age 40) and Rosa (age 12) are from Brumadinho, the county where Inhotim is located, and visited the park for the first time this year on a free-admission Wednesday. Richard (age 64) and Sarah (age 66) came from London and were especially interested by the gardens. Maria Eduarda (age 24) and Antônio (age 25) study art in Rio de Janeiro and visit Inhotim frequently to see and re-see their favorite works of art. Mariana (age 9) and Luísa (age 10) are students of a regional public school and participate in an educational program. Every day, hundreds of people from nearby cities, from other states, and from other countries – young people, adults, senior citizens, students, workers, families, researchers, and art collectors – all come to Inhotim.

During the exhibition at the IDB Cultural Center, Inhotim visitors in Brazil are being invited to publish photos on Instagram with the hashtag #InhotimDC, sharing their own experiences and perspectives with the public in Washington.

Installation of the work "Beam Drop Inhotim" in 2008 (2008) by Inhotim and InhotimInhotim


Something that makes Inhotim unlike any other museum is the fact that many of the artists that have artworks installed permanently at the institute have taken its landscapes as inspiration for the creation or adaptation of their artworks. Site-specific works like those produced by Matthew Barney, Doug Aitken, Chris Burden, Jorge Macchi and Marilá Dardot demonstrate Inhotim’s aim of showing artworks selected and displayed in a unique way.

Beam Drop Inhotim, 2008 - Chris Burden - Inhotim - Brazil (2009-07-16) by InhotimInhotim

< This video records the installation of “Beam Drop Inhotim” (2008) by the American artist Chris Burden. The film is on display in the outside showcase of the IDB Cultural Center in Washington DC and can be seen by anyone who passes in front of space.

Inhotim's name (2017) by InhotimInhotim

Entering the Garden

The history of Inhotim began as a dream in the 1980s. The initial gardens were created around a house that remained on an old farm property and drew inspiration from the approach of Brazilian landscaper Burle Marx (1909–1994). At that time, the Mata gallery was constructed, which held works of modern art from the collection of Bernardo Paz, the founder of Inhotim. Some years later, through the influence of Brazilian artist Tunga (1952–2016), the collection changed its focus toward contemporary art. Inhotim, as it exists today, formally began in 2004.

RPPN Inhotim (2017) by InhotimInhotim

Alameda Central (2017) by InhotimInhotim

Trying the Inhotim landscape is an invitation to the senses. 360-degree videos lead you through Inhotim's paths.

The Sarzedo drawings – Bomb, Vik Muniz, 2002, From the collection of: Inhotim
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What was once an environment degraded by mining began to be transformed with the aim of conservation and repopulating various botanical species. Today, plants, animals, and people all share this land amidst a redesigned landscape. At Inhotim, discovery, knowledge, and contemplation are encouraged. The more locals get to know the gardens, the more they welcome us and the more we learn to take care of and be a part of the neighboring community.

< Three images from Vik Muniz's "Pictures of Earthworks - The Sarzedo Drawings" are on display at the IDB Cultural Center at the exhibition "Inhotim: at the Crossroads of Glocal Change".

The Sarzedo drawings – Key, Vik Muniz, 2002, From the collection of: Inhotim
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The Sarzedo drawings – Envelope (2002) by Vik MunizInhotim

Viewing machine (2017) by InhotimInhotim

Learning with Nature

Inhotim invites the public to enjoy an open experience. Paths that curve and branch, the absence of predefined routes, a constant dialogue between nature and architecture, art and landscape. The visitor’s experience is formed by layers of successive movements: inward and outward, motion and rest. Everything is designed to promote a leisurely visit, one in which the rhythm of one’s own body and mind dictate the ideal route for each individual visitor.

Walking through Orange Route (2017) by InhotimInhotim

Trying the Inhotim landscape is an invitation to the senses. 360-degree videos lead you through Inhotim's paths.

Jardins do Inhotim (2014) by InhotimInhotim

The educational programming at Inhotim is carefully developed based on a meaningful consideration of all the various elements that form the institution. Practical and investigatory learning experiences invite visitors to connect with the collection and the landscape around them. Programs such as the Inhotim Laboratory, Young Environmental Agents, and Decentralizing Access create transformative experiences for children, teenagers, and teachers from across the region.

Inhotim: Macro ao Micro (2017) by InhotimInhotim

De lama lâmina (2017) by InhotimInhotim


Over the last 200 years, humanity has modified our ecosystems more quickly and extensively than at any other time in history. For this reason, actions toward preserving biodiversity, promoting sustainability, and combating climate change are vital. At Inhotim, environmental research and modifications in local practices such as the recovery and cultivation of plants, maintenance of remaining forest, and the creation of reforested areas are all in line with a global sustainability effort.At Inhotim, in the middle of a eucalyptus tree grove and near the entrance to an inactive mine, lies the work De lama lâmina (2009). It is a reflection on a pressing conflict our society faces today: the correlation between progress and destruction. This installation by North American artist Matthew Barney confront us with the beauty and the violence in the complex relationship between human beings and nature.

Inhotim Site-specific (2017) by InhotimInhotim

Viveiro educador (2011) by InhotimInhotim

Natural Cycles

Urban life has distanced the people from the land. To achieve a new era of harmony between humanity and natural resources, we must recover this connection. Everything we consume comes from nature and is inter-related in a complex chain of transformations. At Inhotim, the educational nursery is particularly designed toward raising awareness about this cycle with the desire that it can be reimagined. Preservation, cultivation, propagation, and the safekeeping of plants are combined with public activities that go beyond contemplation and invite the visitors to engage in a new experience of a possible reality.

Jardim Desértico (2017) by InhotimInhotim

Trying the Inhotim landscape is an invitation to the senses. 360-degree videos lead you through Inhotim's paths.

Composting Inhotim (2017) by InhotimInhotim

A renewed, sustainable society requires people who are likewise renewed. Educational practices and social thinking in tune with this challenge are essential to achieve such change. The collection of art, botany, and the memory of land that was once mines are the raw materials from which Inhotim’s educational programs are developed. They construct knowledge in a multifaceted and interconnected way, incorporating people’s daily lives, and in such a way as to generate a transformative mindset.

Aerial view of Inhotim (2010) by InhotimInhotim

A Changing Landscape

At Inhotim, art, architecture, and nature are harmoniously combined to create a small-scale model of sustainable development. In the county of Brumadinho, the creation of Inhotim transformed – and continues to transform – the local landscape and community with new economic opportunities for the tourism industry, better job prospects for local youth, and the enrichment of local biodiversity, while also lending visibility and collaborating with the regional, traditional cultures and communities. Through a cyclic and constant motion, as it transforms its surroundings, Inhotim is likewise transformed by it.

Panorâmicas aéreas (2017) by InhotimInhotim

Table with artworks of Luiz Zerbini (2016) by Inter-American Development BankInhotim

The serie of ten monotypes of Luiz Zerbini was conceived from an immersive process in the gardens of Inhotim, where the artist collected the botanical species used in the engravings. At the IDB Cultural Center, the works are mounted on a table with movable faces that can be moved by the public.

Areca, Luiz Zerbini, 2016, From the collection of: Inhotim
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Braquiária noturna (2016) by Luiz ZerbiniInhotim

Brumadinho, Luiz Zerbini, 2016, From the collection of: Inhotim
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Cica (2016) by Luiz ZerbiniInhotim

Trepadeira, Luiz Zerbini, 2016, From the collection of: Inhotim
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Pau brasil (2016) by Luiz ZerbiniInhotim

Hortelã, Luiz Zerbini, 2016, From the collection of: Inhotim
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Palmas (2016) by Luiz ZerbiniInhotim

Bananeira, Luiz Zerbini, 2016, From the collection of: Inhotim
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Mostera deliciosa Leaf (2016) by Luiz ZerbiniInhotim

Credits: Story

IDB Climate Change and Sustainable Development Sector as well as the Cultural, Solidarity, and Creativity Affairs Division of the Office of External Relations

Inhotim Staff

Lucas Sigefredo

María Eugenia Salcedo
Carolina Assis

Trinidad Zaldivar
Jonathan Goldman

Paulo Soares

Elton Damasceno
Paulo Soares

Cecília Rocha
Fabrício Santos

Cecília Rocha
Daniela Rodrigues
Deborah Gomes
Fabrício Santos
Júlia Torres
Laura Neres
Lidiane Arantes
Lucas Sigefredo
María Eugenia Salcedo
Patrícia Oliveira
Vinícius Parreiras
Yara Castanheira

Carlos Alberto Celestino

John Norman
Julieta Sueldo Boedo

EAV Engenharia Audiovisual
Estufa – Estúdio de Design Inhotim
FAZ Makerspace
LD Studio
Lord Drone
Mach Arquitetos
O Grivo
Plantar Carbon
Suricata Filmes

We wish to acknowledge our communications partner, the Embassy of Brazil in Washington, DC, our opening reception sponsor, Google, as well as the Federal University of Viçosa and the Ezequiel Dias Foundation for their contributions to the Macro-Micro experience.
We also would like to acknowledge the support of Felipe Paz, José Carlos Carvalho, Lorena Valadão, Marta Mestre, Raquel Celso, Yara Castanheira, Zoe Coucaud, Anne Gander, Juliana Almeida, Barbara Brakarz, Ricardo Hirschbruch, Gerardo Martinez, and Thiago de Araujo Mendes.


Antônio Grassi

Raquel Novais

Allan Schwartzman

María Eugenia Salcedo

Lucas Sigefredo

Gustavo Ferraz

Credits: All media
The story featured may in some cases have been created by an independent third party and may not always represent the views of the institutions, listed below, who have supplied the content.
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