Brasilia. Inaugurated in 1980, is now an important centre of expression for artists. Aside providing services for the community it offers to the emplyees a permanent contact with contemporary artistic events.
Belo Horizonte. Inauguraed in 1981, is an exhibition space in the headquarter of the bank and offers exhibits, seminars, cncerts…
Sao Paulo. It was inaugurated in 1990 with an exhibition of works by the Bank’s employees. Now it offers exhibition of varied art’s forms.
MUSEUM OF MONEY
Objective: preserving the nation's heritage on the progress of means of payment, based on the principle that money is an important form of people's cultural expression, and an essencial element in economic History.
Banco Itaù is a publicly quoted bank with headquarters in
Sao Paulo. Itaù is currently merging with Unibanco of Brazil
to form Itaù Unibanco Holding S.A. wich will be the largest
conglomerate in the Southern Emisphere and one of the 20
largest in the world.
Corporate social responsability:
Funda ção Itaù Social - http://www.fundacaoitausocial.org.br/
Founded in 2000, the activities focus on the creation and implementation of public, educational and social activities and projects.
2. Itaù Cultural - http://www.itaucultural.org.br/index.cfm?cd_pagina=2675
The Institute offers free access to the main archive of Brazilian coins (Itaù Numismatica or Museu Herculano Pires) and, through the mediateca, to more than 30 millions documents regarding Brazilian arts and culture (such as books, movies, magazines, CDs, etc.)
THE GLOBAL TURN OF CONTEMPORARY ART IN BRAZILIAN COLLECTIONS
The forum examined the global turn in contemporary art in different global contexts. The aim is to build up a body of comparative knowledge that can be duscussed and applied in a cross-culture perspective. (Global Art and the Museum-GAM Project, Hans Belting)
Two main questions for the Brazilian workshop:
What is the response to the global expansion of contemporary art in Brazil today? Does a Brazilian audience as yet have any experience of a new situation in what we call global art? Or is the dichotomy between international (Western) art and local Brazilian art production still prevailing?
What is the institutional presence of the contemporary? What role do museums play, as opposed to galleries and private collections? How do museums deal with the global turn in today’s art in their collection and exhibition policies? To what extent is contemporary Asian or African art present in Brazilian collections?