Boijmans Mega Structures. Building… Célula Nave

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Ernesto Neto
50
00:50

Ernesto Neto

Ernesto Neto is considered one of the absolute leaders of Brazil’s contemporary art scene. His inspiration comes partly from Brazilian neo-concreticism at the end of the 1950s and beginning of the 60s. The movement’s best known proponents are Lygia Clark and Hélio Oiticica. Like them, Neto rejects modernism’s ideas of autonomous geometric abstraction. Instead he makes a kind of organic architecture. Neto wants to equate a work of art with a living organism and invites the viewer to establish an active relationship with his work.
Technical Staff Museum Boijmans van Beuningen
90
01:30

Technical Staff Museum Boijmans van Beuningen

Museum Boijmans van Beuningen’s technical staff is responsible for everything in the museum that needs to be moved, changed, replaced, rebuild and build. Head of the department is Wouter Louman.
To touch
172
02:52

To touch

Just like there are basic needs to survive physically, there are six biological and psychological needs that must be fulfilled for a person to be in balance, feel alive, feel love fully, feel happiness, and be productive. The first is: contact. This is the need for physical touch by other people. Contact can be received by hugs, hand-holding, pats, massage, or any other way you get physically touched.
Nave
217
03:37

Nave

In this interview, Neto explains ‘nave’ as a ship; more specific even he talks about a spaceship. But in architecture, the word is used to describe the middle part of a church – more specific even, for the middle part of a Gothic cathedral.

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Boijmans Mega Structures. Building… Célula Nave

It has eighteen legs; each leg has eight socks and each sock contains eight kilos of sand….In 2004 the Brazilian artist Ernesto Neto made a sculpture for Museum Boijmans Van Beuningen in Rotterdam. Célula Nave was designed especially for the central modernistic space and Neto wrote down instructions how to construct the piece.

After its first exposure, the work was bought for the museum’s collection and stored away in two suitcases. Five years later, in May 2009, the suitcases are taken from the depot for the exhibition Brazil Contemporary. The museum’s technical staff is challenged: how to get the work at its feet? Ernesto Neto himself explains about his work.