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ARCO 2013. february 13 - february 17, 2013
  • Alberto Borea. ARCO

    Alberto Borea. ARCO, 2013

  • Alberto Borea. ARCO

    Alberto Borea. ARCO, 2013

  • Alberto Borea. ARCO

    Alberto Borea. ARCO, 2013

  • Alberto Borea. ARCO

    Alberto Borea. ARCO, 2013

  • Alberto Borea. ARCO

    Alberto Borea. ARCO, 2013

  • La estructura que observe desde el piso (Existe Resiste series)

    La estructura que observe desde el piso (Existe Resiste series), 2013

    Videoinstallation

  • Alberto Borea. ARCO

    Alberto Borea. ARCO, 2013

  • Influencia #5 and #6

    Influencia #5 and #6, 2013

    Collages.121 x 184 cm.

  • Wallstreet series

    Wallstreet series, 2013

    Silkscreen on canvas. 110 x 150 cm. each

  • Wallstreet 3

    Wallstreet 3, 2012

    Silkscreen on canvas. 110 x 150 cm.

  • Wallstreet 4

    Wallstreet 4, 2012

    Silkscreen on canvas. 110 x 150 cm.

  • Wallstreet 6

    Wallstreet 6, 2012

    Silkscreen on canvas. 110 x 150 cm.

  • Wallstreet 7

    Wallstreet 7, 2012

    Silkscreen on canvas. 110 x 150 cm.

  • Wallstreet 8

    Wallstreet 8, 2012

    Silkscreen on canvas. 110 x 150 cm.

  • Wallstreet 9

    Wallstreet 9, 2012

    Silkscreen on canvas. 110 x 150 cm.

  • Alberto Borea. ARCO

    Alberto Borea. ARCO, 2013

  • Immigration Line

    Immigration Line, 2012

    Collages. 38 x 31 cm. each

  • Immigration Line (detail)

    Immigration Line (detail), 2012

    Collage. 38 x 31 cm.

  • Immigration Line (detail)

    Immigration Line (detail), 2012

    Collage. 38 x 31 cm.

PRESS RELEASE

 

Alberto Borea´s proposal for ARCO 2013 enphasised in the poetry of the objects themselves as a primary access point, taking advantage of their formal qualities as in the case of Native American pottery, building tools, immigration cards, ads from real estate publicity magazines or gun catalogues, combs, boxing gloves, match boxes, VHS tapes and boxes, computer keyboards, lattice work, plastic bags, wooden shoeshine boxes etc. to continue investigating the materialism of our “civilization’s residues” and, through them, the changes in society, the fragility of our economic model and the imminent on-come of their obsolescence.

 

Borea reflects on identity and geographicity, addressing subjects like criticism of the market and consumption and also general problems of art and the artistic object, in relation to perception, communication and circulation. Everyday objects are treated like icons, juxtaposing contextualizations: the ancient and the contemporary, global and local, vernacular and foreign, personal-private and universal; in this media he recreates a poetic system which aludes to the understanding of basic and spiritual needs of individuals and the search for progress, representing the phases civilizations pass through in its attempt to survive and the role of luck in this development.

 

Like Mireiles, “he uses the conceptual without renouncing narrative nor metaphor, endowing his production with both individual and collective memory” (Ana María Guasch); reviewing the anacronisms and lack of continuity of the historic discourse and the space-time relationship; surpassing the dialectic center- periphery and folkloric exoticisism through globalization and transculturalization, metadiscourse and intertextuality.

 

 

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