Rotations

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 Constantine 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.