Crítica Institucional à brasileira: a relação entre artistas e instituições nos idos dos anos 1960/1970 no Brasil – o caso Fiat Lux

When speaking of Institutional Critique, is almost instantaneous the reference that comes to mind: Hans Haacke, Marcel Broodthaers, Daniel Buren and Michael Asher. These artists, emerged in the mid 1960s, became known as the first generation of Institutional Critique, after Benjamin Buchloch defined their critical work in that category. However, thinking about the same period of artistic production in Brazil, could it be said that there was also the emergence of artistic practices which could be read within the concept of Institutional Critique? To think about this question, I focus this paper on O Sermão da Montanha – Fiat Lux from the artist Cildo Meireles. I will try to observe in this work how the issues of Institutional Critique appear in Brazil, considering the different social and political contexts of Latin America, the United States and Europe (the latter, places where this concept emerged and whose artists became canons of this practice).