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New York Times
3 days ago
- General
- New York Times
The Brazilian Artist Who Listens to Minerals
The car sped southward from Belo Horizonte, the highway climbing out from Brazil's third-largest city into the surrounding hills. Red dust from oncoming convoys of heavy trucks drifted onto the windshield. On board, Luana Vitra — one of Brazil's fastest-rising young artists and the offspring of a long lineage of manual workers in this rugged, iron-mining region in the southeastern state of Minas Gerais — was offering a quick précis of the land and local temperament. 'We have a culture that is made from iron,' Vitra said. 'What our ancestors lived inside the mines made us the way we are now.' People in Minas Gerais, she said, were shaped by a legacy of watching out for others and forming survival strategies in mines where labor was exploited and collapses were frequent. Her grandfather, she added, attributed his longevity to the prayer to Saint George — who is associated in Afro-Brazilian religion with Ogun, the spirit of iron and metallurgy — that he kept tucked in his helmet. 'Iron is very much in my history,' she said. The daughter of a carpenter and a teacher, Vitra grew up in Contagem, a city in the Belo Horizonte agglomeration known for its concentration of heavy industry. Now, at 30, she has emerged as one of the most visible and distinctive — in Brazil and abroad — of a wave of young Black Brazilian artists who are finding new languages with which to explore their histories and connect to the world. She places her region's materials — particularly iron ore and copper — at the heart of elegant, often room-scaled installations, their characteristic reddish tones set against deep blue fabric or painted backgrounds. The compositions extend to beads, ceramics, glass and clean-drawn lines on various surfaces. They favor symmetry, with a ritual feel that nods to Afro-Brazilian religion — the metal arrows, the talismans — but also to broader and nonspecific sacred geometries. Shaping every installation, she said, is an 'equation' — not mathematical but metaphorical, calibrating the emotional architecture that results from particular material combinations, as if working from 'a periodic table with feelings connected to minerals.' Want all of The Times? Subscribe.
New York Times
20-06-2025
- General
- New York Times
When the Past Is Lost
This personal reflection is part of a series called The Big Ideas, in which writers respond to a single question: What is history? You can read more by visiting The Big Ideas series page. Steel beams hanging in the air,twisted by the intense glass scattered across the floor,melted by the intertwined in all directions,exposed by blackened by soot,resulting from the burning of a country's memory … I wrote these lines shortly after Sept. 2, 2018. It is a day I will never forget. That day, the National Museum of Brazil in Rio de Janeiro was devastated by an intense fire. For those of us who work in Brazil's cultural sector, the fire was the realization of our worst nightmare. The tragedy did not come without warning. The risks the museum faced were well-known. The lack of proper maintenance was obvious throughout the building. Along with my fellow museum officials, I frequently pushed government officials for more resources, but these efforts were not successful. If I had to choose one building in Brazil that should be protected and preserved, it would be the museum, and not just because of its collections. The site is connected to many notable moments in Brazil's history. Since 1892, the museum has been housed in the former royal palace. The building was home to the Portuguese royal family after they fled to Rio de Janeiro to escape Napoleon. After Brazil's independence, it was the residence of Brazil's emperor. The museum, which was founded on June 6, 1818, by King John VI of Portugal, is Brazil's first scientific institution. Before the fire, the museum contained over 20 million items, including unpublished documents from Empress Maria Leopoldina, ethnographic objects from Indigenous Brazilians, significant specimens of the country's biodiversity, fossils and rare minerals. The blaze destroyed about 85 percent of the museum's collection. In the aftermath, one of the hardest moments for me was paradoxically also one of the most inspiring. The day after the fire, while smoke was still everywhere, a large group of people, including some high school students, approached the remains of the museum. For security reasons, the police did not let them get close to the building. After some tense negotiations, the group was allowed to do what they came for: The members formed a human chain and embraced the remains of an institution that — in reality — belongs to them, the public. When I remember this scene, it is hard to hold back my tears. We, the guardians of their cultural heritage and history, failed them. Want all of The Times? Subscribe.
