Who is Bernardo Paz?
Bernardo Paz, a prominent figure in the Brazilian steel industry and an avid art collector, established the Instituto Inhotim in the 1980s. This significant cultural landmark, situated in Brumadinho, Brazil, encompasses a vast expanse of 300,000 m2, featuring gardens masterfully crafted by Roberto Burle Marx. It holds the title of the largest open-air art venue in Latin America.
The facility is home to the renowned Inhotim Collection, a pivotal hub of contemporary Brazilian art. It boasts a diverse array of over 500 artworks from 100 notable artists, including Cildo Meireles, Chris Burden, Hélio Oiticica, Matthew Barney, Adriana Varejão, Marepe, Ernesto Neto, Paul McCarthy, Doris Salcedo, and Miguel Rio Branco.
According to Inhotim's website, in November 2017, Bernardo Paz, the visionary behind Inhotim, stepped down indefinitely from his role as the Board's president. Subsequently, on November 27, the Institute's Board of Directors appointed the economist Ricardo Gazel to succeed him as the new president.
Art holds greater power than technology
No collection can be presented in its entirety, but it can act as a convincing fragment of a wholly unique totality. The collection of Bernardo Paz (Belo Horizonte, 1951) bears the unmistakable stamp of its wrapper, a botanical garden known as Inhotim (Tim was the name of the original owner of the land, "Mr. Nhô or Inhô"). In 2002, this Brazilian industrialist inaugurated in Brumaldinho, in the north of the State of Minas Gerais, a foundation unprecedented in Latin America, and from there he embarked on a social project similar to the one undertaken by the bourgeoisie of the 18th century, with which the creation of educational structures, such as libraries, schools, museums, began. At that time, understanding the world was important. And if a work of art is the expression of what happens, Paz creates from this enclave of the Atlantic forest - where 600 people work, from curators to gardeners - the conditions for artists to realize them.
"My only interest is education. I am rational and not driven by passions. In this world, there are many speculators and dishonest people" "Building a concept. Practicing an idea. Living an experience" is the motto of this museum complex whose greatest attraction is its extraordinary 70-hectare botanical reserve designed by landscape architect Roberto Burle Marx in the manner of a scientific laboratory that has allowed scholars to recover endangered species. For four years, the Institute of Contemporary Art has attracted thousands of people who actively share the spirit of a very sculpted collection, closely linked to the exuberance of the space. Surrounded by artificial lakes and rare botanical species, about twenty pavilions host the works of artists from the Brazilian and international scene - Cildo Meireles, Tunga, Hélio Oiticica, Adriana Varejâo, Janet Cardiff & George Bures Miller, Matthew Barney, Doug Aitken - and specific interventions in the environment - Chris Burden, Dan Graham, Jorge Macchi, González-Foerster, Rirkrit Tiravanija, Olafur Eliasson, Simon Starling. "I started by acquiring works from the sixties, a time that marked the end of the paradigm of the idea of the avant-garde. I continued with the work of Brazilian creators from the eighties and nineties. Now we have 450 works, which are rotated in each exhibition," explains Paz.
QUESTION: Collecting often intertwines closely with personal motivations. What drove you to it?
ANSWER: My upbringing played a significant role in shaping me. My father, a patriotic architect, would lull me to sleep with national anthems. My mother, a sensitive soul, was a painter and writer. They instilled in me the values of discipline and persistence. In my youth, I embarked on global travels. A pivotal moment came in 1970 in Acapulco, where I encountered a mesmerizing garden with a live orchestra and dancing people radiating happiness. It inspired me, leading me to think, "I want to create something like this." This epiphany influenced my entire life. Afterward, I pursued a career in industrial steel and mining. However, I quickly realized the futility of this world, dominated by intelligent yet speculative disputes. Thus, I delegated my business responsibilities to others and stepped away. In the mid-90s, along with my friend Burle Marx, we envisioned Inhotim.
Q: Rather than documenting an artist's entire career, your collection seems to focus on representing them through singular, large-scale works.
A: I don't see myself as a traditional collector or patron. I am an ordinary individual who aspired to create a "space" for public engagement. Therefore, it's crucial for the artworks to be substantial and innovative, offering both an experiment and an experience to the visitors. My journey began with constructing pavilions alongside architect friends, starting with Tunga's (True Rouge, 1997), followed by Cildo Meirles and other Brazilian artists. Initially skeptical about public interest in contemporary art, I was moved by the enthusiastic reactions of children, reaffirming my belief in art's foresight and power, surpassing even technology.
Q: Who were your mentors and advisors in this journey?
A: In 2001, Marian Goodman, a renowned New York gallerist, visited Inhotim. Her admiration led her to advise me on the importance of seeking expert guidance and trusting my intuition. She introduced me to historian Allan Schwartzman, who now serves as the chief curator based in New York. I also collaborate with Jochen Volz and Rodrigo Moura, ensuring I'm well-informed and up-to-date.
Q: Did you receive support from private individuals or the Minas Gerais Government?
A: My journey with Inhotim has been a solitary one. Despite being in Brazil's most conservative and overlooked state, I persevered without substantial external support. Financial challenges have been part of my journey, but fear never deterred me. I believe that without determination, intelligence is ineffective. To sustain my project, I've sold modern art pieces and employed local Brumaldinho residents, often going against my family and friends' advice. I reinvested every profit into creating artworks and establishing the foundation. Inhotim stands as a unique global landmark, embodying the essence of Brazil. Critics may perceive me as dangerous, but their skepticism only fuels my commitment to societal contributions.
Q: Having loaned artworks to prestigious institutions like the Tate, Reina Sofía, and Macba, what are your thoughts on museums prioritizing consumerism over educational values?
A: Museums should primarily serve an educational purpose, offering insights into our history and culture. Art, including contemporary forms, plays a crucial role in this educational journey. However, the vanity of some museum directors can be detrimental, slowly eroding the institution's true purpose.
Q: As a collector, how do you navigate the pressures of the art market?
A: While some collectors may purchase art for status, my approach as an entrepreneur is driven solely by educational purposes. Rationality guides me, not passion. The art world, like many others, is riddled with speculators and dishonesty. Yet, there are transparent and genuine professionals. Choosing the right associates is crucial. Many artists are mere products of biased criticism or curatorial agendas. However, these influences are transient.
An In-Depth Exploration of Inhotim in Brazil
In a conversation with the Los Angeles Times, industrialist and art enthusiast Bernardo Paz described his outdoor contemporary art museum as a transformative destination. Nestled within 5,000 acres of the lush Brazilian jungle, Inhotim is more than an art venue; it's a comprehensive experience that combines contemporary art with a botanical garden, a spiritual haven, a center for scientific exploration, and a hub of cultural activities. Tony Perrottet from the Wall Street Journal likened Inhotim to a "modern Brazilian variant of the pastoral art havens of 18th-century Europe." Paz's journey into art collecting began with Brazilian Modernist pieces, a path he embarked on instinctively after stepping down from his business roles following a stroke in 1995. His foray into contemporary art was sparked by an encounter with Rio de Janeiro artist Tunga, leading him to liquidate his entire collection of Brazilian Modernist art for a fresh start. By 2002, his private residence had become a repository of art, prompting him to consult New York-based art authority Allan Schwartzman. Schwartzman advised him to focus on commissioning unique, site-specific works, emphasizing the importance of creating an experience exclusive to Inhotim, "worthy of the journey."
Today, Paz's collection exceeds 500 artworks, with 110 displayed in 21 art pavilions seamlessly integrated into the Brazilian natural landscape. Each pavilion is an architectural marvel in itself, harmoniously blending with the surrounding flora and fauna. Recognized by the Brazilian government as an official botanical garden, Inhotim's diverse plant life includes over 4,500 species, with a significant variety of native palms. The botanical aspect is a critical component of the Inhotim experience. As Allan Schwartzman notes, Inhotim merges art with an enriching environment, featuring five decorative lakes, each uniquely colored by natural algae, ranging from deep turquoise to vibrant emerald. Opened to the public in 2006 by Bernardo Paz, Inhotim has since continued to evolve rapidly into a "utopian landmass." Future plans include the introduction of hotels and restaurants, with the first set to open later this year. Paz envisions Inhotim as a self-sustaining entity, destined to endure beyond his lifetime, projecting its legacy "for a thousand years."
Interview with Bernardo Paz
When did you first purchase a piece of contemporary art? Was this linked with an intentional choice to become a “collector”?
My initial acquisition that aligned with the vision of Inhotim was Dan Graham's Bisected Triangle, Interior Curve, bought in 1995. At the time of this purchase, I wasn't focused on becoming a collector in the traditional sense. My aim was to establish a public space for art, accessible to visitors, where art and nature could interact. This desire to create Inhotim, rather than the ambition to build a collection, was my primary motivation.
Is there a particular theme, concept, or group of artists that your collection represents?
The collection at Inhotim is reflective of contemporary times, capturing the essence of our current era and acting as a mirror to contemporary history. While Inhotim is renowned for its site-specific pieces, our collection is diverse, encompassing paintings, installations, sculptures, sound works, photographs – a wide array of artistic forms.
As someone who collects art, what duties do you believe you have?
While I am an art collector, I don’t see myself as one in the conventional sense. My main commitment is to the public, ensuring that the collection resonates meaningfully with those who visit Inhotim. The development and growth of the collection are continually geared towards enhancing the aesthetic, critical, and political understanding of our audience.
What has been the most complex or demanding artwork or concept to implement within Inhotim's expansive landscape?
The installation of Beam Drop Inhotim stands out as particularly challenging. Our interaction with Chris Burden, an artist who consistently questioned modern society and his own lifestyle, was remarkable. Beam Drop Inhotim, symbolic in its meaning, is one of the park’s most iconic installations. It involved a massive logistical operation with numerous trucks, beams, and cranes, leaving a lasting impression on the staff, the artist, and the institution’s legacy.
Inhotim began hosting the Museu de Arte Negra (Museum of Black Art) from December 4, 2021, for a two-year period, a concept conceived by the Brazilian poet, artist, and politician Abdias Nascimento. Could you elaborate on this initiative?
The collaboration between Inhotim and Ipeafro, the organization overseeing Abdias Nascimento's legacy, marks a historic moment. Art institutions are in a phase of reassessing their roles and determining how to remain relevant in people’s lives. This requires innovative partnerships and exhibition strategies to engage diverse audiences. Abdias was ahead of his time in addressing racism, incorporating various societal elements. The Museu de Arte Negra (MAN) at Inhotim alters the dynamics of artists, audiences, and stakeholders. It represents a contemplation of art’s interaction with contemporary issues.
To what extent does Inhotim prioritize showcasing First-Nation and Brazilian stories and narratives alongside its international exhibits?
Inhotim’s collection embraces a global perspective in the realm of art. The stories and narratives we present aren’t confined to being “Brazilian”; they are diverse and multifaceted.
What are your aspirations for the art world in the aftermath of the Covid pandemic?
Significant shifts in behavior and lifestyle are inevitable. The pandemic has fundamentally altered how people interact with their environment and technology, and we're only beginning to see the extent of these changes. There's a growing preference for open, natural spaces where people can forge new connections with wildlife and plant life. In the context of Inhotim, this inclination is even more profound, as the outdoor experience is enriched by the presence of art. Inhotim represents the museum of tomorrow.
Could you share a particularly memorable experience from Instituto Inhotim or your journey as a collector?
The most memorable moment is yet to occur; it's always in the future.
What private collection open to the public would you suggest people visit?
In my pursuit to remain unbiased, I’ve consistently engaged highly skilled professionals globally, valuing their contributions. Personally, I do not visit other collections. Inhotim stands apart, immune to external influences.
Some problems with the law
One of the most surprising verdicts in a case involving the Brazilian contemporary art scene has been overturned. In 2020, the federal appeals court in Brasília reached a unanimous decision, exonerating Bernardo Paz, the sole collector behind Instituto Inhotim, a vast sculpture park showcasing a wide range of international contemporary art, from money laundering charges.
In November 2017, a lower federal court in Belo Horizonte had sentenced Paz, a prominent figure in the ARTnews Top 200 Collectors list from 2002 to 2017, to nine years and three months in prison on charges of money laundering related to Inhotim. These charges originated from a criminal complaint filed by the Ministério Público Federal (MPF), Brazil’s federal prosecutors. Paz's sister, Virgínia de Mello Paz, was also convicted, receiving a five-year sentence. The recent ruling has acquitted her as well. The MPF's complaint stated that in 2007-2008, an investment fund named Flamingo had channeled $98.5 million to Horizonte, a company Paz had set up to support the non-profit Instituto Inhotim. However, it was alleged that this funding was actually used for Paz's business expenses and debts, including those of around 30 mining companies, rather than for the museum's upkeep.
Following the verdict, other allegations emerged against Paz's mining companies, including child labor claims. In May 2018, Paz resigned from the governing board of Inhotim. Although still owning a significant part of the collection, he negotiated with the Minas Gerais state government to transfer 20 artworks, including pieces by Barney and Kusama, to the state to settle a tax debt. These works remain at Inhotim under specific conditions ensuring their maintenance and prohibiting their sale or relocation.
Speaking to O Estadão de S. Paulo, a Brazilian daily, earlier this month, Paz reflected on his personal and family struggles during this period. He mentioned his reluctance to return to Inhotim, stating it was too early for such decisions. According to Brazilian law, Paz was not required to serve his sentence immediately due to the nature of the crime and was awaiting the outcome of the appeal.
Although the MPF could technically still appeal the latest decision, Paz considers it unlikely due to the unanimous nature of the ruling and the rarity of such a move. The MPF has yet to announce their plans regarding an appeal.
Paz’s attorney, Marcelo Leonardo, criticized the original complaint's logic in a report by O Estadão, arguing that the alleged laundering, tied to a criminal organization, wasn't part of Brazilian law until 2013, six years after the supposed infractions. Leonardo concluded by affirming that justice had been served.
Selena Mattei
| ArtMajeur Magazine