Art dwells: Heidegger’s concept of dwelling and the spatial relations between architecture and contemporary art in two artworks at Instituto Inhotim (Brazil) | A arte habita: o conceito de habitar em Heidegger e as relações espaciais entre arquitetura e arte contemporânea em dois trabalhos no Instituto Inhotim (Brasil)

Liz Fagundes Oliveira Valente,Luciana Bosco e Silva

doi:10.24220/2318-0919v16n2a4087

Abstract

This article explores the spatial relations between art and architecture in two art galleries of Instituto Inhotim, extending the use of Martin Heidegger’s (1889-1976) concept of “dwelling” — presented in his essays “Building Dwelling Thinking” and “...poetically, Man dwells...” to the artworks under study. Doug Aitken’s Sonic Pavilion and Cristina Iglesias’ Vegetation Room are taken as key examples of how art dwells” through subjective and concrete relations in both built and natural environments.

Highlights

In Brazil, more museums were built in the last thirty years than in the last three hundred years
According to the Instituto Brasileiro de Museus (Brazilian Institute of Museums, Ibram) in 2011, the Country had around 3,300 museums, and approximately 10% of them were located in the state of Minas Gerais
The growing propagation of museums in Brazil and around the world has contributed to the development of new architectural theories surrounding museum architecture

Summary

Introduction

In Brazil, more museums were built in the last thirty years than in the last three hundred years. After thoroughly linking poetry to dwelling, he explained the meaning of ‘poetic’ in ‘dwelling’; “the taking of measure is what is poetic in dwelling” (HEIDEGGER, 1971b, p.219). Heidegger states: Man’s dwelling depends on an upward-looking measure-taking of the dimension, in which the sky belongs just as much as the earth.

Results

Conclusion