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.
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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
Music in movement: dance. Music in poetry: song. Music in writing: a score. How to translate Music into painting? My work is born from the deep necessity to fuse my two vocations: music and visual arts. I first memorize a song, I study it. Then I choose a common place, on the sidewalk, on a wall… and I draw the music—how I hear it, how it comes out of the chalk, how I see it.
Música en movimiento: la danza. Música en poesía: una canción. Música escrita: una partitura. ¿Como traducir la Música en pintura? Este trabajo nace de una necesidad profunda de fusionar mis dos vocaciones: la música y las artes visuales. Primero memorizo la canción, la estudio. Luego escojo un lugar cualquiera, sobre la acera, en un muro… Y dibujo la música. Como la escucho, como nace bajo la tiza, como la veo.
Selected Biographical Information
Education / Training
- Master de Artes Plásticas en la Universidad de París I, La Sorbonne.
Prizes / Fellowships
- 2008: Prix Spécial du Jury, Festival Côté Cour, Paris, France.
Solo Exhibitions
- 2012: “Rhythm & Chalks, videos by Fabiana Cruz”, LA Artcore Center, Los Angeles, CA, USA.
- 2010: “SaludArte Foundation”, IdeoBox ArtSpace, Miami FL, USA.
Group Exhibitions
- 2013: “Arte Para Cuatro”, Aires de Córdoba, Córdoba, Spain.
- 2013: “Schöffer dnas le monde”, Institut Hongrois, Paris, France.
- 2012: “Venezuela en Arts”, Marcigny, France.
- 2010: “Dialogues: Chapters of Latin American Art in the MOLAA Permanent Collection”, MOLAA, Long Beach, CA, USA.
- 2010: “Toys ART US”, Curator’s Voice Project Space, Miami, USA.
- 2008: “Marked Pages II”, Sicardi Gallery, Houston TX, USA.
- 2010: “Art Dans les Bars”, Baraka productions, au O’ Duo café, Paris, France.
- 2010: 1rst International Art Triennale, Satoru Sato Museum, Tome, Japan.
- 2010: “Collect Collage”, Estudio Arte 8, Caracas, Venezuela.
- 2010: “Inestabilidad”, Marion Gallery, Panama City, Panama.
Collections
- Museum of Latin American Art (MOLAA), Los Angeles CA, USA.
- DePauw University, Greencastle IN, USA.
- Fabiana Cruz, “Imaginary Instrument #2 – “Acapella”, 2010, Series: Imaginary Instruments, Video 01:42 min. Image courtesy of the artist.
- Fabiana Cruz, “Partition Linéaire #2 – “Agitata da Due Venti”, 2013, Series: Partitions Linéaires, Video 06:00 min. Image courtesy of the artist.
- Fabiana Cruz, “Imaginary Instrument #1 – “Blackbird”, 2009, Series: Imaginary Instruments, Video 01:59 min. Image courtesy of the artist.
- Fabiana Cruz, “Partition Linéaire #5 – “Confutatis”, 2012, Series: Partitions Linéaires, Video 02:49 min. Image courtesy of the artist.
- Fabiana Cruz, “Imaginary Instrument #6 – “Inkboard”, 2012, Series: Imaginary Instruments, Video 02:05 min. Image courtesy of the artist.
- Fabiana Cruz, “Imaginary Instrument #3 – “Interactive Lines”, 2010, Series: Imaginary Instruments, Video 02:06 min. Image courtesy of the artist.
- Fabiana Cruz, “Partition Linéaire #4 – “PaintSynth”, 2010, Series: Partitions Linéaires, Video 01:54 min. Image courtesy of the artist.
- Fabiana Cruz, “Imaginary Instrument #4 – “Rhythm & Chalks”, 2011, Series: Imaginary Instruments, Video 02:09 min. Image courtesy of the artist.
- Fabiana Cruz, “Imaginary Instrument #5 – “Settle Down”, 2012, Series: Imaginary Instruments, Video 04:38 min. Image courtesy of the artist.
- Fabiana Cruz, “Partition Linéaire #3 – “Suite de Bach”, 2009, Series: Partitions Linéaires, Video 02:55 min. Image courtesy of the artist.
- Fabiana Cruz, “Imaginary Instrument #7 – “The Hand Wave”, 2013, Series: Imaginary Instruments, Video 01:48 min. Image courtesy of the artist.
Translated from Spanish
I have recently developed an investigation that proposes various relationships among concepts of space, time, landscape, sound, silence, memory, and perception. The idea of variation is understood as the metamorphosis and interaction that occurs within this glossary of concepts, and which merges a series of projects where experimentation with different media and processes function as central axis of my artistic practice, and which allows a sense of dynamics during the process of the work itself.
Based on this outline, I began an interdisciplinary project in 2013, titled Ghost Variations, which states an analogy between the evolutionary phases of a hurricane and the movements of a symphony, giving to each one of its phases a selection of formal elements and collaborative practices for its production.
Recientemente, he desarrollado una investigación que propone diversas relaciones entre los conceptos de espacio, tiempo, paisaje, sonido, silencio, memoria y percepción. La idea de variación es entendida como la metamorfosis e interacción que acontece entre este glosario de conceptos y que integran una serie de proyectos donde la experimentación con diversos medios y procesos funciona como eje de mi práctica artística, los cuales otorgan un sentido dinámico durante el proceso mismo de la obra.
Basado en este esquema, inicié en 2013 un proyecto interdisciplinario titulado Ghost Variations, el cual articula una analogía entre las fases evolutivas de un huracán y los movimientos de una sinfonía, otorgando a cada una de sus fases una selección de elementos formales y estrategias colaborativas para su realización.
Selected Biographical Information
Education / Training
- Escuela Nacional de Pintura, Escultura y Grabado La Esmeralda, Mexico City, Mexico.
- 2001 – 2006: Licienciatura en Artes Plásticas, Mexico City, Mexico.
Prizes / Fellowships
- 2013: Residencia Artística en CASA TOMADA, Sao Paulo, Brazil.
- 2009: Residencia Artística en CAPACETE, Río de Janerio, Brazil.
- 2009: Beca Arte Actual Bancomer – MACG 2009.
- 2008-09: Beca Jóvenes Creadores 2008 – 09, FONCA.
- 2004-05: Beca Jóvenes Creadores 2004 – 05, FONCA.
- 2003: Segundo lugar, Premio Philips Art Expression, X Edición, Museo de Imagen y Sonido, Sao Paulo, Brazil.
- 2003: Primer lugar, Premio Philips Art Expression, X Edición, Museo de Arte Moderno, Mexico City, Mexico.
- 2002: Mención Honorífica, Un espacio de 35 mm, Televisa, Centro de la Imagen, Mexico City, Mexico.
- 2002-03: Beca Jóvenes Creadores 2002 – 03, FECAQROO.
- 2002-06: Beca Fundación Telmex.
Solo Exhibitions
- 2013: “1st Fugue”, Kunsthalle Sao Paulo, Brazil.
- 2012: “Half Day Closing”, Pinta Art Fair, NYC, USA. (Curator: Jacopo Crivelli)
- 2012: “Ghost Variations 1 (Prelude)”, Galería Arróniz, Mexico City, Mexico. (Curator: Christian Barragán)
- 2011: “Lapses”, Hermés Store, Mexico, DF. (Curator: Tobías Ostrander)
- 2010: “Reverb“, Museo Experimental El Eco, Mexico DF. (Curator: Tobías Ostrander)
- 2010: “Pautas”, Dot Fifty One Gallery, Miami, USA.
- 2008: “Estudio”, Trolebús Galería, Mexico City, Mexico. (Curator: Ariadna Ramonetti)
- 2008: “Suspensión, alineación y balanceo”, Galería Arróniz, Mexico City, Mexico.
- 2007: “Axis”, Laboratorio Dzityá, Yucatan, Mexico.
Group Exhibitions
- 2013: “Emmathomasteca“, Galería Emma Thomas, Sao Paulo, Brazil (Curator: Marta Ramos Yzquierdo)
- 2013: “Materia Sensible“, Gabinete grafico, Museo Carrillo Gil, Mexico City, Mexico. (Curator: Caroline Montenat)
- 2012: “XV Bienal de Pintura Rufino Tamayo“, Museo Tamayo, Mexico D.F. Colectiva Mexico, Galería Baró, Sao Paulo, Brazil.
- 2011: “Re Cover”, Casa del Lago, UNAM, Mexico City, Mexico.
- 2010: Hecho en Casa, Fundación Ex – Molino, Mexico City, Mexico.
- 2010: “Arte Actual, Programa Bancomer MACG”, Museo de Arte Carrillo Gil, Mexico City, Mexico. (Curatoras: Ruth Estévez y Sarah Demeuse)
- 2009: “Trabajo de espacio”, Galería Arróniz, Mexico City, Mexico.
Publications
- 2012: MPBA, Museo del Palacio de Bellas Artes.
- 2011: ABSTRACCION TEMPORAL, Museo Experimental El Eco / UNAM / 2011.
- 2011: MEMORIAS, Casa del Lago / UNAM / 2011 + 2007.
- 2010: PROGRAMA BBVA BANCOMER – MACG.
- 2005-2009: TROLEBUS.
- 2004-2005:MEMORIAS JOVENES CREADORES 2004- 205.
Collections
- Museo de Arte Contemporáneo de Oaxaca, Mexico.
- La Colección Júmex, Mexico.
- Jorge Pérez Collection, Miami, USA.
- Joahn Hickey Collection, NY, USA.
- Sayago & Pardon Collection, Los Angeles, USA.
Links
- Omar Barquet, “Suspensión”, 2013, Color pencil, marker and collage on MDF hanging structure, 240 x 180 x 20 cm (peso 40 kg). Photo credit: Adrián Villalobos
- Omar Barquet, “Filtros”, 2010, 6 Glazed and carved wood screens, Variable dimensions. Photo credit: Mauro Giaconi
- Omar Barquet, “Division + Day After Day”, 2011, Partially sanded wood floor. Installation with letters made of carved and assembled wood, Variable dimensions. Photo credit: Adrian Villalobos
- Omar Barquet, “Reflection”, 2010, Intervened table, enamel and mirror, 120 x 70 x 150 cm. Galeria DotFiftyOne (Miami). Photo credit: Ramiro Chavez
- Omar Barquet, “Im Freien (Reverse)”, 2012, Series: Out Of Doors, Encyclopedia convers intervened with mixed techniques, audio cassette and record player with sound action and wooden ledge, 200 x 35 cm. Private Collection. Photo credit: Felipe Censi
- Omar Barquet, “Cuadrante 23 (The Nicht’s Music)”, 2012, Series: Cuadrantes, Acrylic on paper over canvas, 33 x 32 cm. Private Collection. Photo credit: Adrian Villalobos
- Omar Barquet, “Day After Day (high version)”, 2012, Series: Day After Day, Installation with brushes and carved wooden canes, 250 x 80 x 80 cm. Galeria Baró, Sao Paulo.
- Omar Barquet, “White noise + A lapse of silence (Diptico para ambos lados de un mismo muro)”, 2012, Encyclopedia convers intervened with mixed techniques, audio cassette and record player with sound action and wooden ledge, 150 x 10 x 40 cm. Photo credit: Felipe Censi
- Omar Barquet, “La Visión (Guillotina)”, 2012, Series: La Visión, Perforated, trimmed and glazed aluminum sheet. Diptych, edition of 5, 52 x 38 cm. Location: Galeria Arroníz. Photo credit: Luis Nava
- Omar Barquet, “Astilla”, 2012, Series: Ghost Variations, Fragments of a carved chair installed on wall, 15 x 30 x 45 cm. Galeria Arroniz. Photo credit: Luis Nava
- Omar Barquet, “La Chanson de la folle au bord de la mer”, 2012, Series: The Shining Paintings, Esmalte sobre puerta recortada, 108 x 74 cm. Galeria Arroníz. Photo credit: Adrian Villalobos
- Omar Barquet, “Darker Days Ahead”, 2013, Series: Horizounds, Transfer, tearing, sanding and enamel on wood, 28 x 42 cm. Sayago & Pardon Collection. Photo credit: Omar Barquet
- Omar Barquet, “Ghost Variations (Orange horizon)”, 2012, Series: Ghost Variations, Digital print, serigraphy and enamel on canvas, 180 x 370 cm (triptych). Photo credit: Adrian Villalobos
- Omar Barquet, “The song of the mad woman on the sea shore (prelude)”, 2013, Series: Ghost Variations, Mural paint, sound sculpture and action in collaboration with Fernando Soberanes y Javier Loyola, Variables. Duration: 12 min. Photo credit: Fabiola Aviña
- Omar Barquet, “Constellations hemispheres”, 2013, Series: Broken records, Vinyl record with intervened symphony through perforations. On-going project, Diameter 32 cm. Photo credit: Habacuque Lima