sandra cinto

SANDRA CINTO

SANDRA CINTOBorn in 1968, in Santo André, Brazil. Lives and works in São Paulo, Brazil.Sandra cinto has presented many individual exhibitions to name a few: in Création Bazouges la Perouse Center (France, 2005), São Paulo’s Museum of Modern Art (Brazil, 2003), Tanya Bonakdar Gallery (Under the Sun and Stars and Cada de America (La Casa del Soñador, 2004, Madrid). As far her exhibitions in a group, we have to mention her work in É Hoje (Santander Cultural, POA, Brazil 2006), Um Século de Arte Brazileira - Colecção Gilberto Chateaubriand (Pinacoteca do Estado de São Paulo, SP, Brazil), Manobras Radicais (Centro Cultural Banco do Brazil. SP, Brazil, 2006), Paralela 2006 (PRODAN, São Paulo, SP, Brazil, 2006), Brazilian Art Show (Pavilhão da Bienal, SP, Brazil, 2006), Entre a Palavra e a Imagem, (Fundação Luís Seoane. La Coruña, Spain), Surrounding Matta-Clark (Gallery Carlos Carvalho Arte Contemporânea, Lisbon, Portugal, 2006), Desidentidade, (Institut Valencian de Arte Contemporáneo - IVAM, Valencia, Spain, 2006), Dreaming Now (The Rose Art Museum, Waltham, Estados Unidos, 2005), Some Kind of Dream (The Rose Art Museum, Boston, Estados Unidos, 2004), Art in Transition II - Some Kind of Dream (Contemporary Art Museum of Raleigh, Carolina do Norte, Estados Unidos, 2002), Virgin Territory (National Museum of Women in The Arts. Washington, Estados Unidos, 2001), Colección Fundación ARCO’2001, (Centro Galego de Arte Contemporânea, Santiago de Compostela, Spain, 2001), Elysian Fields (Centre Georges Pompidou, Paris, França, 2000), Contemporary Collectors (San Diego Museum of Contemporary Art, San Diego, Estados Unidos, 1999), II Bienal de Artes Visuais do Mercosul, (Armazém do Porto, Porto Alegre, Brazil, 1999), XIV Bienal de São Paulo, (Pavilhão da Bienal. São Paulo, Brazil, 1998) e também as realizadas na Civitella Ranieri Foundation, Umbertide, Italy e no Pallazzo della Libertá (Pallazzo delle Papezze, Centro de Arte Contemporânea, Siena, Italy, 2003). She is represented in the colections of Museu de Arte Contemporânea de San Diego, Estados Unidos, Centro Cultural Banco do Brazil, São Paulo, Brazil, Museu de Arte Moderna de São Paulo, Brazil, Museu de Arte Moderna/Col. Gilberto Chateaubriand, Rio de Janeiro, Brazil, Fundação ARCO, Spain, Pinacoteca Municipal de São Paulo, SP, Brazil, Museu de Arte Moderna Aloísio Magalhães, Recife, PE, Brazil, Instituto de Arte Contemporânea Inhotim, Brumadinho, among others.

Nasce em 1968 em Santo André, Brasil. Vive e trabalha em São Paulo, Brazil. Sandra Cinto apresentou várias exposições individuais entre as quais as realizadas em Création Bazouges la Perouse Center (France, 2005), São Paulo’s Museum of Modern Art (Brazil, 2003), Tanya Bonakdar Gallery (Under the Sun and Stars and Cada de America (La Casa del Soñador, 2004, Madrid). Em relação às colectivas destaca-se o seu trabalho nas exposições É Hoje (Santander Cultural, POA, Brazil 2006), Um Século de Arte Brazileira - Colecção Gilberto Chateaubriand (Pinacoteca do Estado de São Paulo, SP, Brazil), Manobras Radicais (Centro Cultural Banco do Brazil. SP, Brazil, 2006), Paralela 2006 (PRODAN, São Paulo, SP, Brazil, 2006), Brazilian Art Show (Pavilhão da Bienal, SP, Brazil, 2006), Entre a Palavra e a Imagem, (Fundação Luís Seoane. La Coruña, Spain), Surrounding Matta-Clark (Galeria Carlos Carvalho Arte Contemporânea, Lisbon, Portugal, 2006), Desidentidade, (Institut Valencian de Arte Contemporáneo - IVAM, Valencia, Spain, 2006), Dreaming Now (The Rose Art Museum, Waltham, Estados Unidos, 2005), Some Kind of Dream (The Rose Art Museum, Boston, Estados Unidos, 2004), Art in Transition II - Some Kind of Dream (Contemporary Art Museum of Raleigh, Carolina do Norte, Estados Unidos, 2002), Virgin Territory (National Museum of Women in The Arts. Washington, Estados Unidos, 2001), Colección Fundación ARCO’2001, (Centro Galego de Arte Contemporânea, Santiago de Compostela, Spain, 2001), Elysian Fields (Centre Georges Pompidou, Paris, França, 2000), Contemporary Collectors (San Diego Museum of Contemporary Art, San Diego, Estados Unidos, 1999), II Bienal de Artes Visuais do Mercosul, (Armazém do Porto, Porto Alegre, Brazil, 1999), XIV Bienal de São Paulo, (Pavilhão da Bienal. São Paulo, Brazil, 1998) e também as realizadas na Civitella Ranieri Foundation, Umbertide, Italy e no Pallazzo della Libertá (Pallazzo delle Papezze, Centro de Arte Contemporânea, Siena, Italy, 2003). Esta representada nas colecções do Centro Galego de Arte Contemporâneo, Santiago de Compostela, Spain, Museu de Arte Contemporânea de San Diego, Estados Unidos, Centro Cultural Banco do Brazil, São Paulo, Brazil, Museu de Arte Moderna de São Paulo, Brazil, Museu de Arte Moderna/Col. Gilberto Chateaubriand, Rio de Janeiro, Brazil, Fundação ARCO, Spain, Pinacoteca Municipal de São Paulo, SP, Brazil, Museu de Arte Moderna Aloísio Magalhães, Recife, PE, Brazil, Instituto de Arte Contemporânea Inhotim, Brumadinho, MG, Brazil and Centro Hudson Valley para a Arte Contemporânea, Hudson Valley, Estados

Unidos.

Sandra Cinto, S/ Título 2007, Caneta permanente e acrílica s/ MDF, Ink and acrylic on MDF, 183 x 137,5 cm

Vistas da exposição Views from the exhibition Blooming: Brazil Japan where you are 2008. Exposição colectiva no Group exhibition at Toyota Museum, Japan

Sandra Cinto, does not seem concerned with the origin of the space in which she is going to show, that is to say, to stage her show. Whether the setting is an art gallery in United States, a museum wall in France, a high school in a small town of Spain or a street in the old downtown section of São Paulo, the artist designs her exhibition/staged show according to the specific physical and symbolical features she finds in each exhibition site. This contingency or circumstance of exhibition (or staged drama) venues in which Sandra Cinto develops her production – a production associated precisely with the dependent nature of each of her works in relation to the sites at which they are first shown – offers yet another evidence of this artist´s strangely coherent poetics,one that is (paradoxically) propped on absolute unpredictability.Sandra couples or juxtaposes rare true objects such as an antique crystal cabinet, for example, or several others that in turn simulate other objects: wood sculptures made to look like books, lamps and handbags; metal sculptures made to look like immense drops of a while liquid… On significant characteristic of all these supports or set props used in simultaneous instances of role-playing – all of which stand as meeting points and diffusion points of countless current of script and narrative that are never fully rendered – are solutions devised for specific sites.Originally, the great majority of these set props, were thought out to form a set and, as such, transform the spaces where they are placed. In turn, these spaces may include both those originally designed to house visual art exhibitions (art gallery facilities or museum rooms) and those meant for diverse usage, in which artists usually interfere..

Imagens da exposição Views from the exhibition Paper Trail: 15 Brazilian Artists, Allsopp Contemporary, London, England, 2008

Imagens da exposição Views from the exhibition at Tanya Bonakdar gallery, New York, United States, 2011

Imagens da exposição Views from the exhibition at Tanya Bonakdar gallery, New York, United States, 2011

Sandra CintoJacinto Lageira

When we look at Sandra Cinto’s mural works we don’t think at first about paintings over canvases, about drawings nor about frescoes but about engravings. Or else about huge rayograms, of which we know that objects previously pur over sensitive paper leave white impressions after printing while the rest of the paper remains black. We can even countertype them, in order to obtain an image in whick white and black are inverted, as if we manipulated a positive and negative. Cinto’s mural works could function in this way, as she does both white drawing against black sets and vice-versa that look alike enough fou us to think tnat we might be looking at an original an its inverted replica. Some of the works remind us also of that other incision process over black cardboard, usually made with bodkin that, by cutting the sombre part, leaves behind immaculate fine lines. Evoking these methods and these techniques in relation to Cinto’s mural works pretends obviously to underline the constant distance between the process suposed and the real result. And above all the continuous illusion of these strange images that glide over which other, that spill themselves over objects and people, that develops themselves as a cobweb to finally incorporate the objects and the beings over which they lie. The image we apprehend is not a mechanical production, a redady-made support glued onto a wall, but made of linearities and of curious objects of small dimensions that cross each other over the support and from it. Not by scratching it, as at a distance and at a first glance could seem, but rather by adding itelf line by line,

point by point, in a ramification that seems never wanting to end. No barrier of scale, of form, of weight nor of texture could oppose this thrust. Even the architetural space is submitted to this lush growth of objects and vegetables that parasitise it and fed on it. But can we be certain of recognising the objects, vegetables, oceans, mountains, skies or even animals on the walls? Does it matter? Shouldn’t we rather, in front of these walls, follow Leonardo da Vinci’s recomendation, on this Treaty on Painting ? He advised his readers to let their eyes wander over the walls, over its blots and moulds, and there discover animals, characters or florests. Suitable to a giant Rorscharch’s test, Sandra Cinto’s walls invite the spectator to project his imaginary, as mos of the forms, apart from a few elements, are not easily identifiable. There are signs here and there, but it is up to us to unravel the story’s line. The story that will be constructed as we read the walls, as we make ourselves simultaneously the text

and its interpretation up. But is not a supreme illusion to believe in the invention of a sketch of a tale or in the sucession of vague images, as there is already a kind of writing, of drawing and shapes tnhat influence directly what we can say or imagine from them? As we already suffered the illusion of marks or incisions on the walls, are we not suffering now from a second illusion, the one of a free narration of its courses? The photografs of beach holidays hung on the bluish wall, of the same blue of the photographs’ skies that seem to overflow from them; or else the black and white photograph of a young woman sleeping on her side on a bed, cut

Sandra Cinto, S/ Título (da série from the series Sob o Sol e as Estrelas - Hemisfério Norte), 2007, Desenho s/ parede, madeira pintada e papel dobrado, Ink on a wall, painted wood, folded paper, Dimensões variáveis,

Variable materials

in half by books – the whole hung at eyes height on a black wall. Everything leads us to perceive the ensemble of the walls from an autobiographic point-of-view – the child ond the beach is the sleeping young woman. The time question might be one the most argued about by historians and semiotics experts on photography, but ever since it was discovered it was understood it was the image of an unique and for ever lost past. It was definitely lost but it left behind an unchangeable image. That is what confers it its narrative, imaginative and discursive strengh – it tells and it leads to telling. In it the alive, the emotion, the thought and the affection are projected, continuously renovating themselves. This way there appears a common point between the drawings on the walls and the photographs, as a possible identification is possible in both cases. No doubt these are not our photographs, our drawings nor our history. But even though it is different, it is like ours.

LAGEIRA, JACINTO. Catalogue Albano Afonso and Sandra Cinto, Galeria Canvas, Porto, Portugal, 2000.

Sandra Cinto, S/ Título (da série from the series Sob o Sol e as Estrelas - Hemisfério Norte), 2007, Desenho s/ parede, madeira pintada e papel dobradoInk on a wall, painted wood, folded paper, Dimensões variáveis, Variable materials

Sandra Cinto, Mar com estrelas, 2008acrylic and permanent ink on MDF, 170 x 100 cm

Sandra Cinto, Untitled (from Mares series), 2008acrylic and permanent ink on MDF, 170 x 100 cm

Imagens da exposição Views from the exhibition at Seattle Art Museum, Seattle, United States, 2012-2013

sandra cinto

Documents

centro de arte contempornea

lives and works in so

arte brazileira

art in transition

arte contemporneo

estados unidos

museu de arte modernacol

in cration bazouges