O Museu de Arte Contemporânea de Inhotim/MG : a fruição da obra como estratégia de conservação.

Abstract

Until the beginning of the 20th century, the art was conceived as a unique object, the fruit of artistic genius. Since the 1960s, this characteristic has been diluted in more dynamic forms of art, bringing interactivity as a fundamental part of the work. The object, previously merely contemplative, has other meanings from its relation with the spectator, with the environment and with the social space. From the static object to the action, the art hybridizes in the society, mixing with the culture and the traditional forms of living the quotidian. In the midst of this universe of possible forms, conservation presents itself as a complex activity. The preservation of contemporary productions requires more than just the knowledge about the technique and the materials used, it requires the understanding of the artist's proposal and the understanding of its cultural value. Having the Inhotim Institute's museological collection as the main object of research, this dissertation sought to help the understanding of the relationships established in the museum context between the artist's proposal, the institution and the public. An analysis was performed to verify how these relations are manifested and are reflected in the practices of preservation of current works of art. Using that information as subsidy, we discuss the fruition of the works of art as conservation strategies.