Fundación Luis Seoane. A Coruña
Activity around the exhibition of Sandra Cinto “Silencio” (Silence).

David Barro

Matadero de Madrid + Fundación Luis Seoane.

Fermín Blanco
Luís Fernández

David Antuña
Patricia Amil

Martín Barros, Lucas Cabrejo, Noa González, Antón López, Beltrán Louzao, Daniel Mora, Antía Porta, José Valle, Mateo Amarelle, Brais Broullón, Jorge Dafonte, Saúl Faba, Pedro González, Pedro Montecelo, Marta Trabazo, Carla Vázquez y Carmen Vázquez.

Estudio Fermín Blanco
Fundación Luis Seoane

Sandra Cinto in artsy.net [here]


Memory & Pictures
Sandra Cinto. En silencio.
“En silencio” (In Silence) is a site-specific installation work of Brazilian artist Sandra Cinto in which she recreates a cabinet job, a place from which the creator is absent but in which the hardness and emptiness of the creative act is evoked by the presence of a table from which the artist places a cello on a pile of books, dominated both elements by a mountain of paper, remains of unfinished musical score refer us to the suffering of the artist because of repetitive strain. The artist is invoked as a kind of involuntary Sisyphus that not overcome his self-imposed sacrifice.

As in the rest of the works of Cinto, drawing acts as leitmotif of the proposal, linking the delicate lines that run through the wood that shapes the bass with pentagrams drawn on scores that accumulate on the floor the room, and other daunting that cover the walls. The color neutrality of the proposal and the static nature that permeates the representation of the notion of creation, arouse in the spectator feelings of strangeness and cause at the same time this loss of references spatiotemporal, accentuating the dream character and unreal the whole.

The silence of the planets, that mystery that since classical antiquity occupied thinkers, is the basis of this collaborative project carried out around the exhibition of the artist Sandra Cinto.

The classic thinker had a commitment to research and society that we envy. In him lay the tremendous responsibility to give answers to the great mysteries that the community demands. It will be these first hypotheses and theories that try to approach a comprehensive understanding of the world at all scales, from the structure of the leaf of a tree to the cosmic order. In this exciting moment in history, music, geometry and consequently the proportion took special role. The music of celestial bodies, their relationship with the monochord or geometry presided over the writings and thoughts of the time.

Known as TETRAKTYS, it was one of these theories. Attributed to Pythagoras and his followers the triangular symbol of ten elements is a total model that based on the numbers as a tool and nature observation as methodology aims to explain the world around us. In the background an abstraction, a simplification that we would like to considered valid today to give answers to many questions that still remain unclear.

During the first quarter of the year two groups of children aged between 6 and 12 years, have worked every week on topics related to the proportion and graphical representation using the didactis of Sistema Lupo. As a finale we have proposed a workshop with families to review learning and keep moving ahead towards new challenges next year.

The workshop begins with disassembling of the work for later transfer to one of the adjoining rooms of the Fundacion Luis Seoane. This is essentially to recover the material used in the work and extend its life in a workshop with the invaluable assistance of the artist herself.

The work is formed by a base shape composed of 230 cartons of 70x45x50 cm. stacked as directed by the artist and thus is covered with a paper blanket where they are sticking balls of crumpled paper with scores and drawings by Sandra Cinto. Besides the work is completed with loose balls role in areas where they do not cover the blankets.

The goal is to recover all the material and move it as intact as possible even if the temptation to climb the mountain or startint a small war with the balls is too strong.

The transfer of the material is performed by a human chain from one room to the other. The material is stored and classified leaving aside the boxes full of paper balls and elsewhere the boxes that will be displayed, marked and cut into successive phases for the two types of triangles with which they will build the spheres.

Después del proceso de desplegado de la caja se procede al marcado con plantillas de cartón pluma hechas previamente. Una vez marcadas con olores verde y rojo según el tipo de triangulo (A en rojo o B en verde) se procede al corte de los mismos en los que participan padres y madres e incluso la propia artista.
After the unfolding process of the box they proceed to marking the cardboard templates previously made. Once marked with red and green scents depending on the type of triangle (A red or green B) they proceed to cut them in which parents participate and even the artist herself.

With the cutting of the triangles ends the first session of the workshop that develops over two consecutive Saturdays. Final assembly takes place on the second Saturday and the children take a little practice to do at home. This is the Dymaxion map created by Buckminster Fuller as globe-shaped icosahedron. The advantage of this balloon is that unlike a perfect sphere is deployable on a flat surface and therefore easily reproducible and easy to assemble. Their faces are triangular and maintain most of the proportional integrity on the map of the globe.

Adding and Subtracting.
The construction of two full and two half-spheres spheres arises. Each complete sphere is formed by 20 panels type A and 60 panels type B. Spheres are proportional to each other so that the sphere 3 has three times the diameter of the sphere 1, the sphere 2 has twice the 1 and the sphere 0 has half of 1. The ratio is maintained in the panels forming the spheres so that the faces of the respective areas are obtained by addition of base panels. Thus from the aggregation or subdivision of the two types of panels (A and B) with new panels that can be built larger or smaller spheres are obtained.

Para el montaje de la semiesfera de mayor diámetro se necesitaron dos equipos trabajando y uniendo los paneles de forma simultanea por el interior y el exterior de la misma. El equipo del interior tuvo que permanecer a oscuras en el interior de la esfera para asegurar la última célula pentagonal que cierra la semiesfera en la parte superior.

For the assembly of the larger hemispherical it is needed that two teams are working and joining the panels simultaneously by the inside and outside. Interior equipment had to stay in the dark inside the area to ensure that the last cell pentagonal closes the hemisphere on top.

Opening the door.
Having secured the top they proceeded to open the door through which the interior team members could leave. After a moment of respite many decided to return back inside.

La proximidad del taller a las fechas navideñas nos lleva a plantear un final en forma de gran nevada. Las bolas y mantas guardadas en las cajas se esparcen por toda la sala en forma de gran manto blanco interactivo. El error del artista materializado por Cinto en una bola de papel se transforma en todo un acierto. La dureza y vacuidad del acto creativo evocados por la artista se convierten en un final lúdico y festivo.

The proximity of the workshop to the Christmas season leads us to propose an end in the form of heavy snow. Balls and blankets stored in boxes spread throughout the room as an interactive great white cloak. The artist mistake Cinto materialized into a ball of paper becomes a success. The hardness and emptiness of the creative act evoked by the artist becomes a fun and festive end.

Of course talking about the music of the spheres we could not stop building our Sistema Lupo cello. In connection with the music of the spheres and of course with the monochord from which it derives, it embraces in an act of fraternal complicity with the cello exposed in the original work of Sandra Cinto.

Upon completion of the workshop, the project is exposed in the room of the foundation. A sheet of information is given to visitors to better understand the project.
Upon completion of the exposure period of two weeks the room must return to its original state: empty, silent, waiting and listening to new sounds …

Fotos de la exposición