Lais Myrrha (Belo Horizonte, 1974) addresses the failures of Brazil’s mid-century modernist project through a critique of architecture and its primary materials. Her video Infinite Column (2011) features cement bags being continuously stacked in a single, increasingly unstable column. Titled after an iconic monument by Constantin Brancusi, Myrrha’s video questions the role of monuments and their role in official state narratives. The hard-edge geometric pattern that emerges from the accumulated sacks of concrete also invites an ironic reading of the utopian aspirations of concrete art in Brazil.
Organized by Beverly Adams, Curator of Latin American Art, Blanton Museum of Art
Lais Myrrha, Coluna infinita [Infinite Column], 2011 (Still)
Video, 4:24 min.,
Gift of Antonio C. La Pastina and Dale A. Rice, 2016