Rio and Cildo
Cildo Meireles is a Brazilian artist. His father’s work led him as cultural attache within rural Brazil, and in turn, offered insight for the Meireles family the ways of life and beliefs of the indigenous Tupi people who live today to prove survival from early Spanish and Portugese conquest. Cildo began his artistic endevours at the District Federal Cultural Foundation and later, contintued under a Peruvian individual named Felix. Like the natural course of modernity, Brazil is scattered with namesakes that pay homage to their native people. A satirical film titled How Tasty Was My Little Frenchman apparently portrays a fictitious image of the Tupi tribe. Nonetheless, Cildo has surely poured wine over his heart and soul and achieved Tate status with works titled Mission/Missions (How to Build Cathedrals) depicting pools of silver coins, towers of bread and a chandelier of bones. He also created a red room of other artists, a clock room inducing claustraphobia, a powder room of spectacular foot sensation, a massive radio tower, and fake money. A 1970’s photograph shows a slim and attractive Cildo making squares over squares over squares titled Meshes of Freedom with what seems to be an unlit fag between his lips, suggesting these may be sugar cubes he is constructing. Shaggy hair, buttondown shirt, bellbottoms and boots. Total 1970’s sex appeal dictated by the music the disc jockey offered. In the photo, his left hand’s middle and ring finger touch the palm of his right hand. The back of the postcard reads Courtesy of the Artist. Here’s to you Cildo.