materials things can be very strange for you as you see them. anthony: so tunga would be very comfortable in this venue. beatriz: completely. he is the one who inspired bernardo to build this place as a museum. anthony: bernardo would be bernardo paz, mining magnate, billionaire, and the eccentric visionary who created this, well, place for lack of a better word. in the 1980s, he started buying up the lands surrounding his house to keep developers from destroying the landscape. then he opened his doors to contemporary artists, offering them both the financial resource to make art and this otherworldly home for their work. in the early days, this used to be the family farm, ranch. and he started collection himself. beatriz: yes. yes. he started collecting modern art. and then eventually he started changing for contemporary art because he thought this was the moment.
running. and only a small portion of that is covered by tickets purchased by visitors. anthony: you could create a gallery space anywhere in the world, and those would be more accessible and more people would come. you chose here, relatively isolated. do you let uh, do you like people? bernardo: yes. i like people, but i like more to see the people happy. and to see them come to me, i construct here a state of mind. anthony: is it important at all that the people who come here understand art? does it matter that someone comes and looks at matthew barney or chris burden? bernardo: they understand. anthony: they understand. do you think rich, poor, farmer? bernardo: no, no way. children. go ask children. they understand.
what the hell is this doing here? beatriz: this museum has put minas gerais in the world art map. everybody that is in contemporary art today knows this place or have heard about this place. anthony: wow. beatriz: wow. anthony: beatriz lemos de sa is an art dealer who represents brazilian artists based in belo. beatriz: this is tunga pavilion. tunga is one of the major contemporary artists in brazil. he started his work in the 70s, and he has also this revolutionary side. he likes the transgression, so that s why he uses all kinds of materials things that can be very strange for you as you see them. anthony: so tunga would be very comfortable in this venue. beatriz: completely. he is the one who inspired bernardo to build this place as a museum.
you did a mountain, a sun, a small house, a hill? anthony: yes. a hill with a house and a sun, probably. bernardo: yes. yes. this is inside you. why did you do this drawing? anthony: well, i think we all at the end, we all want to live on a mountain in a house with a sun. don t we? bernardo: in the end? no. in the beginning. anthony: so in 50 years, what do you want people to say about you? bernardo: nothing. anthony: you don t care? bernardo: i don t care. i lived. i died. i am my life is risk and continue to be risk and will continue. anthony: but after, do i mean, do you care? do you care about your legacy? you ve created this enormous bernardo: i don t believe in being important. anthony: you don t believe in it. i don t either.
anthony: bernardo would be bernardo paz, mining magnate, billionaire, and the eccentric visionary who created this, well, place for lack of a better word. in the 1980s, he started buying up the lands surrounding his house to keep developers from destroying the landscape. then he opened his doors to contemporary artists, offering them both the financial resource to make art and this otherworldly home for their work. in the early days, this used to be the family farm, ranch. and he started collecting himself. beatriz: yes. yes. he started collecting modern art. and then eventually he started changing for contemporary art because he thought this was the moment.