- Alberto Borea, “View of Installation”, 2008, Series: Highways, Black Paint, wood frames, staples, Variable dimensions.
- Alberto Borea, “Highway #1”, 2008, Series: Highways, Black Paint, wood frames, staples, 267 x 293 x 48 cm.
- Alberto Borea, “Ruins and Cities”, 2008, Keyboards, VHS tapes and structure, Variable dimensions.
- Alberto Borea, “Ruins and Cities”, 2008, Keyboards, VHS tapes and structure, Variable dimensions.
- Alberto Borea, “S/T”, 2009, Series: Occidentalismos, VHS films, plexiglass, resin, 250 x 240 cm.
- Alberto Borea, “The Bridge and the Lake”, 2013, Series: Occidentalismos, VHS films on wall, 1371 x 457 cm. Site-specific project. Location: Queens Museum, New York , United States.
- Alberto Borea, “Arqueologias I, II “, 2009, Silkscreen and mixed media on canvas, Variable dimensions.
- Alberto Borea, “The city in in my head”, 2010, Series: Unique, Plastic comb, wood, white paint and led lights, 28 x 17 x 13 cm.
- Alberto Borea, “Here comes the light”, 2011, wood matches, wood, black paint, fluorescent lights, Variable dimensions.
- Alberto Borea, “Here comes the light (Detail)”, 2011, Wood matches, wood, black paint, fluorescent lights, Variable dimensions.
- Alberto Borea, “Geografia”, 2009, VHS tapes, plexiglass, resin., 175 x 250 x 22 cm.
- Alberto Borea, “Sculpture Park”, 2012, Series: Unique, Found Aluminum, collage, wood., 65 x 140 x 120 cm.
- Alberto Borea, “View of Installation, Paradero”, 2013, Series: Combis, Found buses, paint and mixed media., Variable dimensions.
- Alberto Borea, “Ciudad Mexico”, 2014, Series: Combis, Public buses, paint and mixed media., 178 x 77 x 7 cm.
My work is characterized by the continuous displacement and use of diverse media and materials. The openness towards these media helps me defining the development of an artistic proposal, where the object’s time and history take a fundamental importance within the plastic discourse.
I am interested in the relation between different cultures and histories, between the so-called center and its periphery.
The concepts related to ruins and progress are part of my interests as an artist.
Raised in Lima in the 80’s during the Peruvian civil war influenced my practice and my relation with the objects and their symbolism.
The position of distance about cultural, economic and social events constitute an important part in the process and execution of my projects.
I find myself attracted to the residues of civilization and in mapping and conceptualizing these materials for my work.
Mi trabajo se caracteriza por el uso y continuo desplazamiento de diversos medios y materiales. La apertura hacia estos medios, me ayuda a definir el desarrollo de una propuesta artística, en donde el tiempo y la historia del objeto cobran una importancia fundamental en el discurso plástico y en su proceso.
Me interesa la relación entre distintas culturas e historias, entre el llamado centro y la periferia. Los conceptos relacionados con la ruina y la promesa de la modernidad son algunos de los intereses conceptuales en mi práctica.
Haber vivido en Lima durante la guerra interna de los años ochenta ha influido en mi práctica como artista así como en mi relación con los objetos y sus simbolismos.
La posición de distancia ante fenómenos culturales y económicos constituye una parte importante en el proceso y en la ejecución de mis proyectos.
Estoy atraído por los residuos de la civilización y en la idea de mapear y resignificar estos objetos en mi trabajo.
Selected Biographical Information
Prizes / Fellowships
- 2011: Sculpture Space Residency, Utica, United States.
- 2013: Lower Manhattan Cultural Council (LMCC), New York City, United States.
- 2010: International Studio and Curatorial Program (ISCP), New York City, United States.
- 2009: Pollock Krasner Grant, VSC, Vermont, United States.
- 2009: Art OMI, New York, United States.
- 2008: Fundacion Cineros de Patricia de Phelps, Skowhegan School of Painting and Sculpture, United States.
Solo Exhibitions
- 2013: “La Naturaleza de la Defensa”, Galeria Lucia de la Puente, Lima, Peru.
- 2012: “Because of Construction”, Y Gallery, New York, United States.
- 2009: “S/T”, Galeria Isabel Hurley, Malaga, Spain.
- 2008: “Residencia”, Espacio La Culpable, Lima, Peru.
- 2008: “Ruinas y Ciudades”, Galeria Lucia de la Puente, Lima, Peru.
Group Exhibitions
- 2014: “Permission to be Global“, Museum of fine Arts Boston, Boston, United States.
- 2013: “Queens International“, curated by Hitomi Hiwasaki and Meiya Cheng, Queens Museum, New York City, United States.
- 2013: “The Name, The Nose”, curated by Raul Zamudio, MuseoLaboratorio, Citta San Angello, Italy.
- 2012: “New York”, Art Museum of the Americas, curated by Paco Cano, Eva Mendoza and Jodie Di Napoli, Washington DC, United States.
- 2012: “Tracing the Unseen Border” curated by Ian Coffre and Omar Lopez Chahoud, La Mama Gallery, New York City, United States.
- 2011: “Dublin Contemporary“, curated by Jota Castro and Christian Viveros Faune, Earls Terrace, Dublin, Ireland.
- 2011: “El Museo Biennial, The S files“, curated by Elvis Fuentes and Rocio Aranda Alvarado, Museo del Barrio, New York City, United States.
Collections
- Madeira Corporate Services Collection, Portugal.
- CIFO, Cisneros Fontanals, Miami, United States.
- Coleccion Patricia Phelps de Cisneros, New York, United States.
About the Artist
I always thought of sound, volume and rhythm breaking through boundaries and barriers in search for a place by looking for ways in which to visualize how this sound could be “seen” if it were traveling in a room, a body, or a garden.
My present work is about exploring sound structures in a sensorial manner, where I feel that music and nature come together in a type of code. In my earlier work I would attempt to ‘draw’ sound as it traveled through an architectural space. Visually it could be compared to a plant or bindweed traveling through space as it searches for its direction.
Presently, I am working on deconstructing that what produces sound by separating its parts. For instance, as in a musical instrument: I separated the body of the guitar from the neck, the cords and the pick guard.
By expanding the body of the instrument to the proportion of our bodies I want to express the explosion of sound through color and form. Through my extensive research of instruments and its components, I arrived at the LPs, and the beauty and meaning of its covers and sleeves. My generation received the last drop of the LP’s industry and the memory of listening to my parent’s records while looking at the covers reminded me how the visual part was so important.
Thirty by thirty cm cover is a huge area to represent the sound that is there, and to me the LP was always an object of awe and desire. In my most recent work, I presented the records and sleeves in frames to relate them to the golden age of the music industry—now found in Music Museums with their walls covered with the platinum and golden records suggesting the completion of an anachronistic ritual of our days of MP3, which involved a different relation between the body (hearing) and sound.
—
Siempre pensé en cómo el sonido, volumen y ritmo cortan los límites y las barreras en busca de un lugar; buscando maneras de visualizar cómo este sonido podría ser “visto” si viajase en un cuarto, un cuerpo, o un jardín.
Mi obra reciente aborda la exploración de estructuras de sonido de una manera sensorial, desde la que siento que la música y la naturaleza se unen en un tipo de código. En mi obra más temprana intenté “dibujar” el sonido a medida que avanzaba en el espacio y buscaba su dirección.
Hoy en día estoy trabajando en deconstruir aquello que produce sonido, separando sus partes. Por ejemplo, en un instrumento musical separé el cuerpo de la guitarra del mástil, las cuerdas y la caja protectora.
Al expandir el cuerpo del instrumento a la proporción de nuestros cuerpos, quiero expresar la explosión de sonido por medio del color y la forma. Mediante mi extensa investigación sobre los instrumentos y sus componentes, llegué a los LPs y la belleza y significado de sus portadas y cubiertas. Mi generación recibió la última gota de la industria de los LPs y la memoria de escuchar los álbumes de mis padres mientras que las portadas me recordaban la importancia de la parte visual.
Una portada de treinta por treinta centímetros es un área muy amplia para representar el sonido que está dentro y para mí el LP siempre fue un objeto de asombro y deseo. En mi obra más reciente presento los discos y carátulas en cuadros, para relacionarlos con la época de oro de la industria musical que ahora se encuentra en museos de música y sus muros cubiertos de los discos de platino y oro, sugiriendo el fin del ritual anacrónico de nuestros días del MP3, los cuales significaron una relación diferente entre el cuerpo (la acción de escuchar) y el sonido.
Selected Biographical Information
Education / Training
- 1999-2003: Fine Arts, Fundação Armando AAlvares Penteado FAAP, Aão Paulo, Brazil.
Prizes / Fellowships
- 2003: Bolsa-Prêmio – 35° Anual de Arte , FAAP Fundação Armando Alvares Penteado, São Paulo, Brazil.
- 2004: Art in Residency Programme at Gasworks Gallery – 1° lugar Prêmio Chamex de Arte Jovem, Chamex, London, England.
- 2008: Mountain School of Arts Residency, Mountain School of Arts, Los Angeles, ESA.
Solo Exhibitions
- 2013: “gravações perdidas [lost recordings]“, Galeria Vermelho, São Paulo, Brazil.
- 2013: “no no yes please“, Galeria Silvia Cintra + Box 4, Rio de Janeiro, Brazil.
- 2012: “sunburst“, Galeria Vermelho, São Paulo, Brazil.
- 2011: “O papel do jardim [the role of the garden]”, Galeria Silvia Cintra + Box4, Rio de Janeiro, Brazil.
- 2010: “KOTO “, Galeria Vermelho, São Paulo, Brazil.
- 2010: “Place to Be”, GaleryRio, Nantes, France.
- 2009: “LUGAR”, Camara de Comércio de Bogotá, Bogotá, Colombia.
- 2007: “Mirante”, Galeria Lunara, Porto Alegre, Brazil.
- 2007: “Pausa [pause]“, Galeria Vemelho, São Paulo, Brazil.
- 2006: “Cruzamentos – Caminhos [crossings – paths]”, DRCLAS – Harvard, Cambridge, USA.
- 2006: “Cruzamentos – Encontros [crossings – encounters]”, Boston Arts Academy, Boston, USA.
- 2006: “Sweet Melody“, LABF15, Lyon, France.
- 2005: “Firehouse“, De Vleeshal, Middelburg, Holland.
- 2005: “Viga Mestra [main beam]“, Galeria Vermelho, São Paulo, Brazil.
Group Exhibitions
- 2013: “Imagine Brazil“, Astrup Fearnley Museet, Oslo, Norway.
- 2013: “Prospect 1“, Museum of Contemporary Art San Dieg, San Diego, USA.
- 2013: “Tomie Ohtake Correspondências“, Instituto Tomie Ohtake, São Paulo, Brazil.
- 2011: “Contra a Parede [against the wall]“, Galeria Vermelho, São Paulo, Brazil.
- 2011: “32º Panorama da arte Brasileira“, Museu de Arte Moderna [MAM SP] , São Paulo, Brazil.
- 2010: “Quem tem medo?”, Galeria Vermelho, São Paulo, Brazil.
- 2008: “Blooming Brasil-Japão – O seu lugar – [Blooming Brasil-Japan – Your Place]“, Toyota Municipal Museum of Art , Province of Aichi, Japan.
- 2008: “Exposição de Verão”, Galeria Silvia Cintra-Box 4, Rio de Janeiro, Brazil.
- 2007: “Futuro do Presente [the future of the present]”, Instituto Itaú Cultural, São Paulo, Brazil.
- 2006: “10 anos + 1 – Os anos recentes da arte brasileira – [10 years + 1 – the recent years of brazilian art]“, Instituto Tomie Othake, São Paulo, Brazil.
- 2006: “Urban Spaces“, DNA Galerie, Berlin, Germany.
- 2006: “Rumos Itaú Cultural 2005/2006 Artes Visuais”, Instituto Itaú Cultural, São Paulo, Brazil.
- 2005: “Panorama “, Museu de Arte de São Paulo [MAM SP], São Paulo, Brazil.
- 2005: “J’en Rêve“, Fondation Cartier, Paris, France.
- 2004: “udo Aquilo que Escapa – 46° Salão Pernambucano de Artes Plásticas“, Espaço Cícero Dias do Museu do Estado, Recife, Brazil.
Publications
- Luiz Camillo Osorio, Coleção Gilberto Chauteaubriand (Rio de Janeiro: Barléu Edições LTDA.), 133.
Collections
- Pinacoteca do Estado de São Paulo, São Paulo, Brazil.
- De Vleeshal, Middelburg, Holland.
- Harvard University, Cambridge, USA.
- Museum of Contemporary Art San Diego, San Diego, USA.
- Coleção Gilberto Chateaubriand -Museu de Arte Moderna [MAM RJ], Rio de Janeiro, Brazil.
- Chiara Banfi, “les paul of the series sunburst – triptic”, 2013, Series: sunburst, three hardboard one covered with Abdul wood leaf, another with Maple and the last with ash, a yellow and orange sayerlack pigment is applied in each piece and then a PLB cover coat , 160 x 110 x 7 (each piece) cm . Photo credit: calé Azad.
- Chiara Banfi, “Em Branco [blank] of the series empty records”, 2013/2014, Series: empty records, vinyls with no music recorded on them, old sleeves presented in a wooden frame, this piece consists of 12 parts, 37 x 70 x 3 (each) cm . Photo credit: Edouard Fraipont.
- Chiara Banfi, “fender precision black soulages – back”, 2013, Series: fender, black paint with PLB finish on hardboard sculpted wood, 160 x 110 x 7 cm. Private Collection: Caracas, Venezuela. Photo credit: Edouard Fraipont.
- Chiara Banfi, “strange fruit of the series silence”, 2013, Series: silence, used magnetic audio tape 2 inches wide applied on an alumminum surface, 160 x 125 x 5 cm. Private Collection: São Paulo, Brazil. Photo credit: Edouard Fraipont.
- Chiara Banfi, “baixo e guitarra [bass and guitar] of the series desenhos sonoros [sonoric drawings]”, 2012, Series: desenhos sonoros [sonoric drawings], 8 bass and 12 gutiar tuners on wood attached to the wall, wire connecting one side to the other, 4 pickups in the centre sending sound to the amplifier , 154 x 238 x 3 cm . Photo credit: Rafael Cañas.
- Chiara Banfi, “mapa 10 – prata [map 10 – silver]”, 2012, color plus 180 grams paper silkscreened and cut out placed over silver Lotka paper also silkscreened , 196 x 156 x 5 cm. Private Collection: São Paulo, Brazil. Photo credit: Marcelo Guarnieri.
- Chiara Banfi, “sem titulo “, 2011, Series: papel do jardim, color plus 180 grams paper silkscreened with music staff applied over papirus paper, 210 x 115 x 5 cm. Private Collection: Belo Horizonte, Brazil. Photo credit: Marcelo Guarnieri.
- Chiara Banfi, “Dique Seco [Drydock]”, 2009, music paper cutout and applied overmusic paper, 106 x 79.5 x 4 cm. Pinacoteca do Estado de São Paulo, São Paulo, Brazil. Photo credit: Ding Musa.
- Chiara Banfi, “sweet melody – asa branca”, 2006-2009, this drawing is part of a series of installations where from a music sheet I would draw onto the wall with adhesive vinyl up to the ceiling and the ‘drawing’ or ‘music note’ would drop (next picture), Variable dimensions. Photo credit: Ding Musa.
- Chiara Banfi, “sweet melody”, 2006-2009, this is the continuation of the previous picture, as the adhesive vinyl reaches the ceiling the ‘drawing’ drops. vinyl and wood, Variable dimensions. Private Collection: São Paulo, Brazil. Photo credit: Ding Musa.
- Chiara Banfi, “Wind”, 2008, inlay of different woods and laca, 200 x 70 x 8 each cm. Private Collection: São Paulo, Brazil. Photo credit: Ding Musa.
- Chiara Banfi, “incoming wind”, 2008, A view of an installation I did in the Toyota Museum of Art, with adhesive vinyl paint and wood inlay panal , Variable dimensions. Site-specific project. Location: Toyota Municipal Museum of Art, Toyota, Province of Achi, Japan. Photo credit: Chiara Banfi.
- Chiara Banfi, “Jardim Suspenso [Suspended Garden]”, 2007, metal structure in an organic form, with a garden., Variable dimensions. Site-specific project. Location: Instituto Itaú Cultural, São Paulo, Brazil. Photo credit: Edouard Fraipont.
- Chiara Banfi, “Balanço [Swing]”, 2005, adhesive vinyl on an acrylic panel and frame , 80 x 120 x 5 cm. Private Collection: Miami, USA. Photo credit: Ding Musa.
- Chiara Banfi, “Red Boat – Firehouse”, 2005, Hammock with cloth, paint on wall and adhesive vinyl on the wall , Variable dimensions. Site-specific project. Location: De Vleeshal, Middelburg , Holland. Private Collection: Middleburg, Holland. Photo credit: Chiara Banfi.
Translated from Spanish
From the personal intention of establishing an approach to the space, distance and time, I integrated elements and quantitative values to my production process, through calculations, units and instruments related to the concept and systems of measure that I have approached through video, drawing, assemblage and installation.
In this process, I reprise the mechanisms that gave way to the first calculations of time and space as they are; the acknowledgement of space and time through experience, identification and production of patterns that work as measuring units, the observation of the manifestations of these concepts, comparing diverse magnitudes and mainly the experimentation and documentation of these events. Based on this, I develop a personal route of exploration of space by comparing numeric manifestations as an artistic proposal about the world and its operation.
If we establish as a way of comparing, that the process of measuring, the final result and the measured value are a means to expand and complement the sensorial capacity of man, and that this capacity is associated to his brain capacity, we can say that to measure is to learn. Following this reasoning, that to measure is to learn or to acquire knowledge of something, we get to know what it is to know that thing, and thus we begin a sequence of events that are linked to each other and lead us to improvement and constant growth of our understanding.
Personally, I consider this method of production as a possibility to appreciate my surroundings from my artistic process, with measuring instruments and procedures that facilitate a type of emotive and sensorial personal information that does not pretend to be a scientific investigation but an analysis where I use these concepts and tools to reflect artistically on the space, distance and time, from my experience. Also, I am interested in formulating a method of production that based in the experience of using these systems of measurement, would result in a visual investigation that offers a possibility of construction of artistic objects that can be the documentation of the research of my environment, my process and what mean to me the discoveries on the world.
A partir del propósito personal de establecer una aproximación al espacio, la distancia y el tiempo, integré dentro de mi proceso de producción artística elementos y valores cuantitativos por medio de cálculos, unidades e instrumentos relacionados con el concepto y sistemas de medición a los que me he aproximado por medio del video, el dibujo, ensamble e instalación.
En este proceso, retomo los mecanismos que dieron lugar a los primeros cálculos de tiempo y el espacio como son, el reconocimiento del espacio y tiempo por medio de la experiencia, la identificación y elaboración de patrones que funcionen como unidades de medición, la observación de las manifestaciones de estos conceptos, la comparación de las diferentes magnitudes y la experimentación y la documentación de estos eventos, principalmente. En base a esto, desarrollo una vía personal de reconocimiento del entorno a través del comparar manifestaciones numéricas como una propuesta plástica acerca el mundo y su funcionamiento.
Si nosotros establecemos, a modo de semejanza, que el proceso de medición, el resultado final y el valor medido, son un medio de ampliar y complementar la capacidad sensorial del hombre y, que esta capacidad está asociada con su actividad cerebral, podemos decir que medir es aprender. Continuando con este razonamiento que medir es aprender o adquirir el conocimiento de alguna cosa, llegamos al saber que es conocer dicha cosa y, por lo tanto, entramos en una secuencia de acontecimientos vinculados entre sí, que, conducen al mejoramiento y al constante crecimiento de nuestro entendimiento.
Personalmente, considero esta forma de producción como una posibilidad para valorar el entorno desde mi proceso de producción artística con instrumentos y procedimientos utilizados en la medición que facilitan la obtención de una clase de información emotiva y sensorial personal que no pretende ser una investigación científica, sino una condición de análisis en donde utilizo estos conceptos y herramientas para hacer reflexiones plásticas del espacio, la distancia y el tiempo desde mi experiencia. Asimismo, me interesa formular un método de producción que, basado en la experiencia de utilizar elementos de los sistemas de medición, desarrolle una investigación plástica que brinde una posibilidad de construcción de objetos artísticos que sean los documentos de una investigación de mi entorno, de mi proceso y de lo que para mí son descubrimientos acerca del mundo.
Selected Biographical Information
Education / Training
- 2003: National Arts School “La Esmeralda”, CENART, BFA, Mexico City, Mexico.
Prizes / Fellowships
- 2012-2015: Miembro del Sistema Nacional de Creadores de Arte, Medios Alternativos, FONCA.
- 2008-2009: Becaria. Categoría Medios Altenativos, Programa Nacional Jóvenes Creadores, FONCA.
- 2007: Selección. Categoría Bidimensional, VII Bienal de Monterrey FEMSA.
- 2006: The AIR Drake Residency, Toronto, Canadá. Residencia de Producción Artística.
- 2002-2003: Programa Nacional Jóvenes Creadores, FONCA.
- 2003: 1er. Concurso Internacional de Arte Electrónico del Banco Internacional de Desarrollo Seleccionada Categoría Video , Washington D.C.
- 2002: Festival Internacional de Video y Artes Electrónicas Vidarte.
- 2002: Mención Honorífica Categoría Video, Seleccionada Categoría Video.
- 2001: Selección Categoría Performance, ExTeresa Arte Actual, 4tas. Jornadas de Nivelación del Oxigeno.
Solo Exhibitions
- 2013: “El lugar donde sucedemos: Midiendo un muro con tiempo”, Galería Nueveochenta, Bogotá, Colombia.
- 2012: “Emplazamiento Lineal. 2,400 metros”, Fundación Teatro Odeón, Bogotá, Colombia.
- 2012: “Trayecto de Mínimo Recorrido”, Centro Vlady de la UACM, Mexico City, Mexico.
- 2010: “Veinticuatro Horas“, Sala Daniel Mont, Museo Experimental El Eco, Mexico City, Mexico.
- 2008: “Linear Journey”, Diaz Contemporary Gallery, Toronto, Canada.
- 2007: “Distancias”, Galería La Refaccionaria, Mexico City, Mexico.
- 2007: “Metros Lineales Sala de Proyectos”, Casa Vecina, Mexico City, Mexico.
- 2006: “Measurements and Process”, Diaz Contemporary Gallery, Toronto, Canada.
- 2004: “Mediato/Emplazamiento”, Galería Casa Vallarta de la Universidad de Guadalajara, Mexico.
Group Exhibitions
- 2012: “Entre la Superficie y la Memoria“, Museo Nacional de la Estampa, Mexico City, Mexico.
- 2011: “Transurbaniac“, Museo Universitario Arte Conteporáneo MUAC, Mexico City, Mexico.
- 2010: “Cimbra: Formas especulativas y Armados metafísicos”, Museo de Arte Moderno MAM, Mexico City, Mexico.
- 2010: “Paisaje Después del Temblor“, Galería Luis Adelantado México, Mexico City, Mexico.
- 2010: “Superficies del Deseo“, Museo Universitario Arte Contemporáneo MUAC, Mexico City, Mexico.
- 2010: “Transurbaniac”, University Art Gallery University of California San Diego, USA.
- 2007: “Ciudad Madin”, Crearte Urbano Complejo Cultural El Aguila, Madrid, Spain.
- 2006: “Come Closer”, Space Piano Nobile, Ginebra, Switzerland.
- 2005: “Come Closer”, Kunstlerhaus Bethanien, Berlin, Germany.
- 2005: “Declaraciones: Video Contemporáneo de México”, Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain.
Publications
- MNEMOGRAFIAS, Entre la superficie y la memoria. Museo Nacional de la Estampa. Mexico City 2012. ISBN: 978-607-605-162-7
- ABSTRACCION TEMPORAL. Museo Experimental El ECO. UNAM Mexico City. 2010. ISBN: 978-607-02-2426-3
- Exit Express. Periodico Mensual de Información y debate sobre Arte, ISSN 1697-5405, Nº. 55, 2010 , pág. 56
- EL LIBRO ROJO. Fondo de Cultura Económica. Mexico City. 2008
- MANUAL DE OPERACION. Ricardo Rendón. Ed. Vainilla Planifolia. Mexico City. 2011. ISBN 978-607-95650-0-8
- CARGA UTIL. MAM Museo de Arte Moderno. Mexico City. 2012.
- TRANSURBANIAC. MUAC Museo Universitario de Arte Contemporáneo. UNAM Mexico City 2010. ISBN 978-607-02-1328-1
- MEXICO Expected/Unexpected. Collection Isabel & Agustin Coppel. Maison Rouge. Paris France 2008. ISBN 978-2-84975-146-6
Collections
- Museo Universitario de Arte Contemporáneo MUAC, Mexico City, Mexico.
- Museo Laboratorio de Arte Alameda, Mexico City, Mexico.
- Atom Egoyan Collection, Toronto, Canada.
- Sarah Diamond Colection, Toronto, Canada.
Links
- Georgina Bringas, “Agua (metros cubicos en metros lineales)”, nd., Site specific installation with plastic ropes and metal hooks, Variable dimensions, Parque España, Mexico City. Photo credit: Courtesy of the artist
- Georgina Bringas, “Disección de un muro: 119, 349 cm2”, 2010, Site specific installation with cotton thread, Variable dimensions, Centro Cultural Border, Mexico City. Photo credit: Courtesy of the artist
- Georgina Bringas, “24 horas”, 2012, Site specific installation with VHS video tape, Variable dimensions, Museo Experimental El ECO, UNAM Mexico City. Photo credit: Courtesy of the artist
- Georgina Bringas, “Colección de tiempo (43 min 04 seg, 26 min 02 seg, 8 min 41 seg, 59 min 01 seg, 34 min 47 seg, 1 hora 50 min 12 seg, 17 min 11 seg, 52 min 01 seg)”, 2010, MiniDV video tape on wood panel, 100 cm high. Photo credit: Courtesy of the artist
- Georgina Bringas, “Todas las horas de hoy”, 2010, Wax on canvas, 30 x 30 cm each, 24 pieces. Photo credit: Courtesy of the artist
- Georgina Bringas, “Enciclopedia: Todos los minutos de hoy”, 2010, 1440 pencil drawings on hard cover, 21 x 28 cm each, 24 books. Photo credit: Courtesy of the artist
- Georgina Bringas, “Recorrido lineal 7, 020 metros”, 2010, Site specific installation with 7, 000 mts of cotton thread, Variable dimensions, Museo Universitario de Arte Contemporáneo, UNAM, Mexico City. Photo credit: Courtesy of the artist
- Georgina Bringas, “Emplazamiento lineal, 2400 mts.”, 2012, Site specific installation with acrylic thread, Variable dimensions, Fundación Teatro Odeón, Bogotá Colombia. Photo credit: Courtesy of the artist
- Georgina Bringas, “Trayecto de Mínimo Recorrido”, 2012, Site specific installation with cotton thread, Variable dimensions, Centro Vlady, Mexico City. Photo credit: Courtesy of the artist
- Georgina Bringas, “reflexión de un paisaje: 294 m. de estambre, 250 gr. de pigmento”, 2013, Site specific installation with cotton thread and natural pigments, Variable dimensions, Museo Nacional de la Estampa, Mexico City. Photo credit: Courtesy of the artist
- Georgina Bringas, “Trayecto de Mínimo Recorrido 1”, 2012, Cotton thread on canvas, 120 x 100 cm. Photo credit: Courtesy of the artist
- Georgina Bringas, “Trayecto de Mínimo Recorrido 2”, 2012, Cotton thread on canvas, 120 x 100 cm. Photo credit: Courtesy of the artist
- Georgina Bringas, “Trayecto de Mínimo Recorrido 3”, 2012, Cotton thread on canvas, 120 x 100 cm. Photo credit: Courtesy of the artist
- Georgina Bringas, “Composición Métrica #1”, 2012, Measure tape on wood, 50 x 50 cm. Photo credit: Courtesy of the artist
- Georgina Bringas, “Composición Métrica #5”, 2012, Measure tape on wood, 50 x 50 cm. Photo credit: Courtesy of the artist