This is a film made by the brazilian critic Wilson Coutinho about approximately ten years of artistic prodution of Cildo Meireles. This work in situations, analogies, comments and records of some film work of the artist like Virtual Spaces: Corners (1968), Insertions into Ideological Circuits (1970–76), and others.
Sintonizes with the artist speech, the film builds a narrative of a rupture with the speech that restricts the arts its concern strictly visual, and its subservience to the ability of the manual - the look built by hand. Not only the artist but also the critical - the look of the critical discourse - cutting to the understanding of the facts to what was hitherto invisible, focusing on the history of art and the blurring of boundaries of language and setting the artistic as do cultural product, social, political.
All this is a justaposition of contexts, bricolage, appropriations, recodifications: in a world where the illusions of values and the fetish of money continues as never being manufactured in series to reduce human relations to strategies of consuption, those that have not understood the message, take lead, as would say John Wayne.