Rio de Janeiro, RJ, 1948
Cildo Meireles’ complex work of art can be linked to the sensory studies of Hélio Oiticica (1937-1980) and Lygia Clark (1920-1988) in the 1960s. Mainly focused on the relationship between the artwork and the spectator’s body. Cildo's career was permeated by two major criticisms: the art circuit that is both limited and neutralized by society and capitalism. Philosophy and politics pervade his artwork and go hand in hand with aesthetics and originality.
Producing pioneering work in the art of the installation, Cildo Meireles is especially interested in reducing the divide between art and life, creating artworks from elements that are trivial or ambiguous. Within the Inhotim art museum, Cildo has a gallery exclusively dedicated to his work containing iconic artworks such as Desvio para o vermelho (Detour to the red), a space constructed entirely of red objects, and Através (Through), an installation comprising sharp and violent objects.