Conceived specifically for the museum, Contraplano (2026) establishes a direct dialogue with its site of construction and installation.

Anchored in the form of the building designed by Oscar Niemeyer (1907–2012) for Praça da Liberdade in Belo Horizonte, the work “displaces this form from its original context to symbolically return the materials from which it is made — concrete and steel — to the earth from which they were extracted” as stated by Douglas de Freitas, the Institute’s curatorial coordinator, in the text accompanying Myrrha’s work.

“It’s a game of questions and answers addressed to the site where it’s installed and the surrounding landscape,” provokes Freitas. In the monumental Contraplano, “associates the form of open-pit mining pits, common in the vicinity of Inhotim, with brise-soleils, a structure widely used in modern Brazilian architecture to control the incidence of light in spaces.”

Watch the video from the sculpture’s opening.