IN MEMORY OF ALBERTO BOREA AT ISABEL HURLEY
Isabel Hurley Gallery in Malaga dedicates an exhibition as a tribute to Alberto Borea (Lima, Peru, 1971- ibidem, 2020). El negro estuvo aquí (2008-2013) goes through his last five years of production through a selection of representative works that were part of the solo shows Ruinas y ciudades, Mountains of America and Turista El Dorado, all of them exhibitions that the Peruvian made in this same gallery, in addition to the proposals made to be exhibited in Volta NY 2011 and ARCO 2013.
Underlying the exhibition idea is his permanent presence in what was one of his favorite spaces. It was in this gallery where he exhibited for the first time in Spain and became a regular of it. Within this expressed recognition, the collaboration between gallery owner and artist also emerges, showing their empathy to consolidate both projects, the personal and the professional.
The motif of remembrance and the anthological structure of his last stage run throughout the exhibition, from the title itself, which leads us to the locative, but also alludes to the nickname by which Borea's relatives called the artist. However, that “negro” goes beyond, and represents a personal and a political part, both fundamental in his production. Therein lies the essence of the video Mountains of America (Negro) (2010), a piece that records the intervention on a snowy landscape of Vermont (USA) and that results in the materialization of the word executed with the foot.
Borea's work is characterized by the use of diverse media and materials that represent his openness and curiosity for the use of them in his proposal, giving vital importance to language, technique and process. Objects become a starting point, and through them he formalizes his research on the formal, without forgetting a certain semiotic analysis framed in a social, economic and production framework.
Thus, the everyday is transformed into popular imaginary, almost iconic, approaching (or mimicking) the issues of both the industry and the communicative and contextual edges that emanate from it. There are pieces, such as Huaco (2013), in which the opposite dialogues, whether this contradiction is the result of the place, the exogenous or time, while others, such as Autopistas (2008), propose an analysis of conscience between progress and its price and aim to establish a necessary critical debate on the need to preserve the origin and tradition within the urban maelstrom and global hegemony.
Along the same lines, he also presents a detailed vision of the phenomena of emigration and identity from his own experience. On these elements he developed a personal cartography, visible in some of his series, but also served as a point of conjunction to use other concepts as part of that critical narrative that leads to architecture or economic, urban and gentrification trends to be an intrinsic part of the discussion. Real State I and Real State II (2010) would be an example of this visible change.
Alberto Borea uses his own language that mixes the international with his cultural roots, the primitive and the contemporary, which can lead to a certain complexity. It is so because of his visions, multiple readings and derivatives of his concepts, as well as everything exposed in terms of techniques and instrumentalization of the object, of creation or of the imaginary.
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El negro estuvo aquí (2008-2013) can be seen until December 20 at Isabel Hurley Gallery, Reding, 39, Malaga (Spain).
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