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The event is sponsored by HSBC bank, Oi, the Government of Rio de Janeiro State, and the City Government of Rio de Janeiro, with cultural support from Oi Futuro and the Ministry of Culture (Min C). For more information, visit the page for the artists here on the site.HSBC bank offers a free tour of these works on weekends and holidays, accompanied by a cultural guide. The projections by Ryoiji Ikeda and Brian Eno will take place on specific dates and will also be open to public presence.Horny females needing sex mobile al personal ads for pregant.

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Instigated by the city, these artists responded to it.

The artists in this edition of Oi R come from very diverse artistic languages and origins but, in common, they have the experience of developing large-scale works.

There is an element shared by the works that now occupy the city, which is the importance and necessity of relating to the idea of the milieu, that which unites us.

This idea presents itself unmistakably in the Glass Labyrinth by Robert Morris, in the delicate clay Dome by Andy Goldsworthy, and in the wood Shellshelter by Henrique Oliveira, works that rely on an active relationship with the public in these new and unexpected spaces that have sprung up in the urban fabric.

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Nothing could be more appropriate for the city that flaunts the title of “marvelous” and that becomes even more interesting as it promotes contact between the work of art, the natural landscape, and people who circulate in the environs.

This is the perspective of the unprecedented biennial project Oi R—Other Ideas for Rio, which begins on September 7, 2012, and comes to an end with the 2016 Olympics, promoting original interventions in picture-postcard locations around the city.

The only possible place for contemporary art to exist is in a zone of discomfort, in the frontier territory of uncertainty and risk.

Contemporary art has the task of continually expanding our perception of what art can be. Public art is not about “things”, but, most assuredly, about “events”. To accept the risks involved in developing new works in open contexts is very rare.

Lastly, Jaume Plensa’s intervention in the landscape of Botafogo Bay—a monumental head that emerges from the reflective surface of the water that is part of the city’s classic picture postcard, in conjunction with Sugarloaf mountain—makes us rethink this landscape, viewing it differently, with a new and unexpected focus.