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Cildo Meireles

This video brought to you by Tate.org.uk

Brazilian artist Cildo Meireles joins us at Tate Modern for the artist's first UK retrospective. His work is characterised by a high degree of interactivity, as well as recurring motifs of barriers, fencing and mesh. For a special event at the gallery, Meireles invited members of the public to help create the latest version of his work Meshes of Freedom. Listen as he shares his thoughts on the significance of the work, and why art is not just for the eyes.
Created by Tate.

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  • aqualine tree style avatar for user David Alexander
    So, was the art in Meireles' concept, in the webs that people constructed, or in the corporate ACT of the making? My tendence, being rather cerebral myself, is to locate it in the conception.
    (3 votes)
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Video transcript

my name is Sudha Meredith I'm an artist supposedly and the live in Rio de Janeiro Brazil where I work from the beginner was interest in the idea that for every new idea you are free to start from zero consent material procedure and this is the thing that's always fascinating so in the soul can maybe knots that there is a lot of work going to different direction and this type of thing but if I could resume with one piece I think - not bad - would resume it the national freedom it's a kind of very rational structure that seems crazy crazy but still very precise as a kind of what what a form of dafuk agent because that's a little bit as my mind operates it was always like shifting defecating this piece start as a doodle and that the first - I did it was the is here is the cotton version I did I asked at a fish man that used to do fishnet to do a net following this procedure and then for this this event at 8 I decided to do a project the fourth version which is a plastic the action that people could built themselves because if you do this it it becomes much more easily comprehensible this project is called meshes of freedom and is the fourth version of a work that silver medalist started in 1976 and it's made of plastic bits which were fabricated in Brazil and sent to London so we can offer people to bring to the gallery and build the biggest version of meshes of freedom to late we have a unit in this this unit intersects two other identical units by the middle and at the same time is intersected by the middle but that one and then successively so this is the formation principle that it takes at the basis of all meshes of freedom in all their versions so it comes out of a childhood doodle and it provides the principle for the connecting system that forms all the meshes so this is what we reproduced in the card when we send it out to people so they understand the dimension is always an open structure it doesn't need to be closed so it always allows for more connections the idea is that people join it was at the same time the same the same space in order to build this larger version of the piece he said that at some point he thought they could be seen as as an installation these structures could be used as a prison cell but this always open so it's a prison cell that contradicts itself because he can't contain anything safely it's always open for things to come in and out the dsq throw the piece out in the world and let it have its own life he is very well known internationally but this is the first time that he has an exhibition of the UK so keep modern passed its first retrospective today after question should be experienced for someone who has no eyes it's not that the eye is not important it's very important but at the same time I think there is the other sense that you should use it in order to to reach you know a better comprehension of the scenes