Cildo Meireles (b. 1948)
Cildo Meireles (b. 1948)

Inserções em Circuitos Ideológicos (Insertions into Ideological Circuits)

Details
Cildo Meireles (b. 1948)
Inserções em Circuitos Ideológicos (Insertions into Ideological Circuits)
(i) signed with the artist's initials, titled and dated 'Inserções em circuitos ideológicos C.M. 5-70' (on the side); inscribed 'JESSE HELMS NO!' (on the alternate side)
(ii) signed with the artist's initials, titled and dated 'Inserções em circuitos ideológicos C.M. 5-70' (on the side); inscribed 'YANKEES GO HOME!' (on the alternate side)
(iii) signed with the artist's initials, titled and dated 'Inserções em circuitos ideológicos C.M. 5-70' (on the side); inscribed 'WHICH IS THE PLACE OF THE WORK OF ART?' (on the alternate side)
transfer text on Coca-Cola glass bottles
each: 7 1/8 x 2¼ x 2¼in. (18.2 x 5.7 x 5.7cm.)
Conceived in 1970 and executed in 1990s, this work is from an unnumbered edition
Provenance
Gift from the artist to the present owner.
Literature
D. Cameron, P. Herkenhoff, and G. Mosquera, Cildo Meireles, London 1999, pp. 108-109 and 111 (another example illustrated).
P. Wood, Conceptual Art (Movements in Modern Art), London 2002 (illustrated in colour, p.61).
G. Brett (ed.), Cildo Meireles, London 2008 (another example illustrated, pp. 62-63 and 65).
Exhibited
New York, The Museum of Modern Art, Information, 1970 (another example exhibited, unpaged).
London, Tate Modern, Open Systems: Rethinking Art c. 1970, 2005 (another example exhibited, illustrated in colour, p. 138).
Zurich, Daros-Latin America Collection at Daros Exhibitions, Seduções: Valeska Soares, Cildo Meireles, Ernesto Neto, 2006 (another example exhibited, illustrated on pp. 92 and 105).

Lot Essay

"Information (production, circulation and control) is at the source of the insertions. (...) The work was also linked to the bottles of castaways. Sometimes the business of throwing the bottle into the ocean brings about confusion. But if I threw it in the ocean I would be limiting the efficacy, the possible efficacy of the work to one person. My idea was precisely to use the extension of this total circulation of bottles, that circuit of permanent movement, in order to reach different people. The project messages normally grew out of information or news that had reached me, that people had shared with me, messages about people who had been arrested or who had not been found; at times, people I didn't even know."

(Cildo Meireles quoted in ildo Meireles, exh. cat., London, Tate Modern, 2008, p. 65).

More from Post-War and Contemporary Art

View All
View All