Back in Time...Again

The last time I visited the historic town of Ouro Preto I was alone and at the mercy of bus transportation. This time I came with friends and a rental car, both of which made getting lost in the small but winding town and to nearby locales a lot easier and much more fun. Visiting over a Sunday this time was also opportunistic in that many of the churches were open and we were able to see the insides in addition to the impressive masonry outside.

This visit was timed well in that the upcoming federal holiday is in honor of Tiradentes ("cheer-ah-den-sheez"), a martyred revolutionary against the Portuguese who was captured, hanged, and had the symbolic displeasure of his remains being scattered along the highway between Rio de Janeiro and Ouro Preto, with the final destination having his head displayed on a stake in the central plaza.

Ouro Preto: a veritable "Where's Waldo" of 18th Century churches.

Located south of the state capital of Belo Horizonte, Ouro Preto and the surrounding towns such as Mariana and Congonhas, among others, date back to the beginning of 1700's, many sharing founding stories with colonists finding mining opportunities. My previous trip was too rainy to visit any mines. This time, however, I was able to enter an old gold mine situated between Ouro Preto and Mariana, in addition to the small mine in town owned by Chico Rei, a slave and former African tribal king, as well as Brazil's first abolitionist.

In the Minas de Passagem, a former gold mine.
It's hard to tell but this track is inclining at about a
45-50 degree angle!

Part of the 2kms of a subterranean lake in the Minas de Passagem.

In addition to Chico Rei and Tiradentes, Aleijadinho ("ah-lay-jah-jeen-yo") is another famous Brazilian from this era with connections to the town and history. The son of an architect, he learned to carve intricate and beautiful façades and statues, despite not being able to walk and having to strap his tools to his limbs after loosing use of his appendages, possibly due to leprosy.

Aleijandinho's intricate façade on the stunning
Igreja de São Francisco de Assis.

Close-up of one of Aleijandinho's soapstone angels,
characterized by large, open eyes and long flowing hair.

Set apart on the Alto da Cruz is the "slave church"
Igreja de Santa Efigênia do Pretos.

Built by Aleijandinho's father, the Igreja Matriz
Nossa Senhora da Conceição de Antônio Dias features
a unique cross atop a sideways moon, signifying
the domination of the Moors by the Christians.

While Ouro Preto has, arguably, the highest density of 18th Century churches of this era with Aleijandinho and his contemporaries' work, nearby Mariana and Congonhas also have a few notable structures as well and were well-worth the visit.

Two churches border the Praça Minas Gerais in Mariana.

Congonhas boasts the unique Basílica do Bom Jesus de Matosinhos, famous for
Aleijandinho's last work (built between 1800-1805), The Prophets, which consists
of twelve soapstone statues lining the entrance to the church.

A Walk in the Park

A short drive south of Belo Horizonte, outside of the tiny, unimpressive town of Brumadinho, lies a sprawling garden of art known as Inhotim ("een-yo-cheem"). Within this expanse of botanical beauty and contemporary art one can easily pass several days exploring the 3000 acres set aside by mining magnate, Bernardo Paz, to both protect the area around his farmhouse and collect larger-than-life modern art pieces.

This bronze work, without title, is by Brazilian artist Edgard de Souza.

The area contains works by artists both Brazilian and international, some out of doors along various trails, others housed in galleries that rise out of the ground's forest like hidden bunkers.  In my humble opinion, this is one of Brazil's best tourist draws and should be a much more promoted destination; many Brazilians are even unfamiliar with its existence.

"Invenção da cor" by Brazilian artist Hélio Oiticica.

What sets Inhotim apart from other contemporary art spaces, apart from its massive size, is that every work demands interaction of some kind with the viewer. Whether is simply walking in a around a particular installation such as "Narcissus Garden" a rooftop pond with large reflective orbs floating freely en mass amongst reeds and lily pads, begging visitors to see themselves an infinite number times, or "Viewing Machine," which looks like a giant telescope atop a hill but is more akin to a kaleidoscope for the lush mountain backdrop or whomever looks through the other end.

Leaning in to the spirit of "Narcissus Garden" by Japanese artist Yayoi Kusama.

Experiencing Danish artist Olafur Eliasson's "Viewing Machine".

Even the gallery buildings themselves are often full sensory experiences, unworthy of photographs. The Galeria Cosmococa, housed in an ominous-looking grey brick fortress asks visitors to remove their shoes at the door, and invites them in to several different "cinema" rooms; one containing a swimming pool for floating and viewing (complete with changing room!), one with hammocks criss-crossing the cube-shaped space, and another filled with brightly colored balloons and a slippery, uneven floor - all with films being projected on the walls.

My favorite experience was a piece by Canadian artists Janet Cardiff and George Bures Miller, titled "The Murder of Crows."  Housed in a long warehouse-like building, hidden along a narrow dirt path in the woods, you enter from one end and begin moving cautiously toward the center where, as your eyes adjust to the low light, you see a loose cluster of folding chairs set in a vaguely circular arrangement. Speakers populate the expansive space, some hanging, others on the ground, all growing thicker as you reach the center of the building. All the while a strange symphony is playing, growing more and more full as you arrive at the center. You find an empty seat to find a bizarre story written on a placard, describing a story like a dream-scape, pulling from elements surrounding you. As you read you marvel at how the music seems to fit which ever part of the text you are at. And then you leave slowly, in awe at the experience and a little creeped out at the same time.

A field filled with clay letters are part of Brazilian Marilá Dardot's installation.

I have been wanting to visit Inhotim for some time and am grateful to have had the opportunity to get here, as it does require at least a couple days of travel to not feel rushed. I will recommend this unique place to anyone visiting Brazil. It is well-worth the effort to get here, and lovers of art and/or the outdoors will be satisfied by the experience.