Jump to content

Mit Borrás: Difference between revisions

Edit links
From Wikipedia, the free encyclopedia
Browse history interactively
← Previous edit
Content deleted Content added
VisualWikitext
No edit summary
Importing Wikidata short description: "Spanish artist"
 
(17 intermediate revisions by 9 users not shown)
Line 1: Line 1:
{{Short description|Spanish artist}}
{{Use dmy dates|date=June 2022}}
⚫
'''Mit Borrás''' ([[Madrid]], 1982) is a Spanish visual artist based in Madrid and Berlin.


⚫
His work examines the relationship between human, [[nature]] and [[technology]] and their purpose of evolution. He has developed a work complex that encompasses visions of a [[Posthuman|post-human]] state of consciousness. Its center of focus is based on the interconnectivity between [[biodiversity]] and technological progress and the philosophical concept of [[adaptation]] as a method of surpassing categorial limits of existence. His work are essayistic portraits in the form of [[Video art|video-based]] works, [[performance]]s and multi-dimensional [[installation art|installations]], embody an augmented state of awareness.
⚫
'''Mit Borrás''' ([[Madrid]], 1982) is a spanish visual artist based in Madrid and Berlin.


⚫
The work of Mit Borrás has been exhibited at [[Centre Pompidou]], Paris (2022), Art Dubai,<ref>{{Cite web|url=https://www.artdubai.ae/|title=Art Dubai &#124; Home|first=Art|last=Dubai|website=Art Dubai|accessdate=6 July 2023}}</ref> UAE (2022), the Hara Museum,<ref>{{cite web | url=https://www.haramuseum.or.jp/jp/arc/ | title=Hara Museum Web}}</ref> Tokyo (2010), Exgirlfriend Gallery, Berlin (2016–21), Tick Tack Gallery,<ref>{{Cite web|url=https://ticktack.be/|title=Welcome to TICK TACK — Tick Tack|website=ticktack.be|accessdate=6 July 2023}}</ref> Antwerp (2021), The Wrong Bienale,<ref>{{Cite web|url=https://thewrong.org/|title=TheWrong|website=thewrong.org|accessdate=6 July 2023}}</ref> Paris (2021), Art Cologne (2021), Pylon Hub,<ref>{{cite web | url=https://pylon-hub.com/hub | title=Pylon Hub }}</ref> Dresden (2021), Harddiskmuseum,<ref>{{Cite web|url=https://harddiskmuseum.com/|title=DESKTOP|accessdate=6 July 2023}}</ref> Paris (2020), Arebyte Gallery,<ref>{{Cite web|url=https://www.arebyte.com/|title=arebyte Gallery|website=arebyte Gallery|accessdate=6 July 2023}}</ref> London (2019), Towards the Last Unicorn, Sau Paulo (2019), Dimora Artica, Milan (2018), Frontviews, Vienna (2019) Berlin (2018) and Athens (2018), Aleph Projects, Tel Aviv (2017),Biennial of Media Arts of Chile<ref>{{Cite web|url=https://www.mnba.gob.cl/|title=Inicio &#124; Museo Nacional de Bellas Artes|website=www.mnba.gob.cl|accessdate=6 July 2023}}</ref> (2017), Palacio Fernandini and Art Lima, Lima (2016), Museo de Bellas Artes de Chile (2017), Kreuzberg Pavillon, Berlin (2013) and Norway (2016), Loop Barcelona<ref>{{Cite web|url=https://loop-barcelona.com/|title=Loop Barcelona – The platform for artists films and videos|website=loop-barcelona.com|accessdate=6 July 2023}}</ref> (2010,15-19 ), Transmediale,<ref>{{Cite web|url=https://transmediale.de/en|title=transmediale|website=transmediale.de|accessdate=6 July 2023}}</ref> Berlin (2011) among others.
⚫
His work examines the relationship between human, [[nature]] and [[technology]] and their purpose of evolution. He has developed a work complex that encompasses visions of a [[Posthuman|post-human]] state of consciousness. Its center of focus is based on the interconnectivity between [[biodiversity]] and technological progress and the philosophical concept of [[adaptation]] as a method of surpassing categorial limits of existence. His work are essayistic portraits in the form of [[Video art|video-based]] works, [[Performance|performances]] and multi-dimensional [[installation art|installations]], embody an augmented state of awareness.


⚫
He has directed the production of digital art festivals, carried out numerous projects as an independent curator, co-directed Fünf Galerie in Berlin (2010–14) and worked as coordinator of cultural projects at the [[Instituto Cervantes]] in Germany ( 2014).
⚫
The work of Mit Borrás has been exhibited at [[Centre Pompidou]], Paris (2022), Art Dubai<ref>https://www.artdubai.ae/</ref>, UAE (2022), the Hara Museum<ref>https://www.haramuseum.or.jp/jp/arc/</ref>, Tokyo (2010), Exgirlfriend Gallery, Berlin (2016-21), Tick Tack Gallery<ref>https://ticktack.be/</ref>, Antwerp (2021), The Wrong Bienale<ref>https://thewrong.org/</ref>, Paris (2021), Art Cologne (2021), Pylon Hub<ref>https://pylon-hub.com/hub</ref>, Dresden (2021), Harddiskmuseum<ref>https://harddiskmuseum.com/</ref>, Paris (2020), Arebyte Gallery<ref>https://www.arebyte.com/</ref>, London (2019), Towards the Last Unicorn, Sau Paulo (2019), Dimora Artica, Milan (2018), Frontviews, Vienna (2019) Berlin (2018) and Athens (2018), Aleph Projects, Tel Aviv (2017),Biennial of Media Arts of Chile<ref>https://www.mnba.gob.cl/</ref> (2017), Palacio Fernandini and Art Lima, Lima (2016), Museo de Bellas Artes de Chile (2017), Kreuzberg Pavillon, Berlin (2013) and Norway (2016), Loop Barcelona<ref>https://loop-barcelona.com/</ref> (2010,15-19 ), Transmediale<ref>https://transmediale.de/</ref>, Berlin (2011) among others.

⚫
He has directed the production of digital art festivals, carried out numerous projects as an independent curator, co-directed Fünf Galerie in Berlin (2010-14) and worked as coordinator of cultural projects at the [[Instituto Cervantes]] in Germany ( 2014).
Borrás teaches [[Video art|Video Art]], [[New media art|New Media Art]] and Communication in the Circulo de Bellas Artes Escuela Sur, is the director of the studio CAVVE Pavilion, His work is represented in Germany by Exgirlfriend gallery and in Spain by House of Chappaz gallery<ref>https://espaitactel.com/es</ref> and is member of the art collective Frontviews<ref>https://www.frontviews.de/</ref> and Haunt center in Berlin.


Borrás collaborates as teacher of Ergonomy at TAI University, Digital Art, [[Video art|Video Art]] and Communication for the UC3 University at Circulo de Bellas Artes Escuela Sur, and Introduction to Digital Culture at Instituto Europeo de Diseño IED for the Master of Digital Fashion.


Is the founder and director of the studio CAVVE with Rachel Lamot as Creative Director and Head of Production. His work is represented in Spain by House of Chappaz gallery<ref>https://houseofchappaz.com/es</ref> and is member of the art collective Frontviews<ref>{{Cite web|url=http://www.frontviewsgallery.de/|title=frontviews|first=Frontviews e|last=V|website=frontviews|accessdate=6 July 2023}}</ref> and Haunt center in Berlin.


== Work ==
== Work ==
Line 15: Line 17:
Mit Borrás has developed a work complex that encompasses visions of a [[Posthuman|post-human]] state of consciousness. Its center of focus is based on the interconnectivity between [[nature]] and [[technology]] and the philosophical concept of adaptation as a method of surpassing categorial limits of existence.
Mit Borrás has developed a work complex that encompasses visions of a [[Posthuman|post-human]] state of consciousness. Its center of focus is based on the interconnectivity between [[nature]] and [[technology]] and the philosophical concept of adaptation as a method of surpassing categorial limits of existence.


Adaptasi Cycle is a divination of our reality, transcending limits of past and futures, synthetic and organic or nature and technology. Essayistic portraits in the form of [[digital art]], [[Video art|video-based]] works, [[Performance|performances]] and multi-dimensional [[installation art|installations]], embody an augmented state of awareness of these aspects and operate as individual suites of this opus of Borrás. Visual artist [http://rachellamot.com/ Rachel Lamot] is the art director and co-writer for Adaptasi Cycle and Daniel Vacas Peralta has composed the music for it.
Adaptasi Cycle is a divination of our reality, transcending limits of past and futures, synthetic and organic or nature and technology. Essayistic portraits in the form of [[digital art]], [[Video art|video-based]] works, [[performance]]s and multi-dimensional [[installation art|installations]], embody an augmented state of awareness of these aspects and operate as individual suites of this opus of Borrás. Visual artist [http://rachellamot.com/ Rachel Lamot] is the art director and co-writer for Adaptasi Cycle and Daniel Vacas Peralta has composed the music for it.


His body of work has an holistic approach to the wellbeing and balance of body and mind, aiming at the conjunction between the inner and outer world, as a form of healing. Rites are a central and recurring theme of Adaptasi Cycle, as the epitome of mental immersion through physical acts and exercises. Through [[meditation]], ([[Kemetism|kemetic]]) yoga, and conscious workout, the characters in Borrás’ work seem to perpetuate the connection of their soul to a higher and immortal realm of existence.
His body of work has an holistic approach to the wellbeing and balance of body and mind, aiming at the conjunction between the inner and outer world, as a form of healing. Rites are a central and recurring theme of Adaptasi Cycle, as the epitome of mental immersion through physical acts and exercises. Through [[meditation]], ([[Kemetism|kemetic]]) yoga, and conscious workout, the characters in Borrás’ work seem to perpetuate the connection of their soul to a higher and immortal realm of existence.


Equally, Borrás’ work addresses the paradox of our [[accelerationism|accelerationistic]] culture: an intrinsic predisposition to fear death, yet idealizing (technological) progress, when in fact progress applied to the human body as the vessel of our existence, ultimately means decay. Subsequently, there is an urge for strategies to overcome this fear and to learn how to deal with the dismal reality of the inescapable decomposition inherent in nature, as a form of healing.
Equally, Borrás’ work addresses the paradox of our [[accelerationism|accelerationistic]] culture: an intrinsic predisposition to fear death, yet idealizing (technological) progress, when in fact progress applied to the human body as the vessel of our existence, ultimately means decay. Subsequently, there is an urge for strategies to overcome this fear and to learn how to deal with the dismal reality of the inescapable decomposition inherent in nature, as a form of healing.


The work complex of Borras encompasses a visual dichotomy of wild, untamed, evanescent nature on the one hand, and man-made, contained culture, such as technology on the other hand.
The work complex of Borras encompasses a visual dichotomy of wild, untamed, evanescent nature on the one hand, and man-made, contained culture, such as technology on the other hand.


In his video work Heavven from Adaptasi Cycle, scenes of an isolated and highly focused protagonist, watched and followed by his [[Artificial intelligence|AI]] robotic companion, alternate with sequences of nature's micro- and macrocosm. Aerial views of glaciers, snowed mountains and dense forests are followed by animated mushrooms, representative of a higher level of [[holistic]] connection, as the fungi are only the fruit of their mycorrhizal network - the so-called mushroom network, which connects bigger plants like trees through tiny threads of the [[mycelium]]. With this in mind, Borrás’ work is equivalent to the picture of the tip of the iceberg, as if a subtle glimpse into a highly complex universe, the visualized essence of our reality's noise and its underlying entanglement of every element and ultimately its sublimation.
In his video work Heavven from Adaptasi Cycle, scenes of an isolated and highly focused protagonist, watched and followed by his [[Artificial intelligence|AI]] robotic companion, alternate with sequences of nature's micro- and macrocosm. Aerial views of glaciers, snowed mountains and dense forests are followed by animated mushrooms, representative of a higher level of [[holistic]] connection, as the fungi are only the fruit of their mycorrhizal network - the so-called mushroom network, which connects bigger plants like trees through tiny threads of the [[mycelium]]. With this in mind, Borrás’ work is equivalent to the picture of the tip of the iceberg, as if a subtle glimpse into a highly complex universe, the visualized essence of our reality's noise and its underlying entanglement of every element and ultimately its sublimation.


His visual language facilitates the dialogue between nature and culture, or more precisely the organic and the synthetic. From time to time, elements of both worlds wander in their natural composition in the respective other realm. Sometimes they appear as a surrogate of their original template, reminiscing its absence as a form of eternalizing its soul and to sustain its metaphysical connection. However, the dichotomy of both worlds is not strictly excluding of their counterpart. In the duality of this scenario, Borrás locates what can be identified as human nature in highly stylized interior spaces, which exemplify the opposite, the synthetic, at a first brief glance. At a second glance, we notice that the appearing characters have already undergone an evolution, morphing into their [[Posthuman|post-human]] existence, being bionic examples of technology merging with the human flesh. Through their adaptation, these [[humanoid]] personae embody the rites of passage of [[Futures studies|future]] human existence possibly evolving in a hyper technologized world.
His visual language facilitates the dialogue between nature and culture, or more precisely the organic and the synthetic. From time to time, elements of both worlds wander in their natural composition in the respective other realm. Sometimes they appear as a surrogate of their original template, reminiscing its absence as a form of eternalizing its soul and to sustain its metaphysical connection. However, the dichotomy of both worlds is not strictly excluding of their counterpart. In the duality of this scenario, Borrás locates what can be identified as human nature in highly stylized interior spaces, which exemplify the opposite, the synthetic, at a first brief glance. At a second glance, we notice that the appearing characters have already undergone an evolution, morphing into their [[Posthuman|post-human]] existence, being bionic examples of technology merging with the human flesh. Through their adaptation, these [[humanoid]] personae embody the rites of passage of [[Futures studies|future]] human existence possibly evolving in a hyper technologized world.


In Adaptasi Cycle depictions of vast natural landscapes clash with the intimacy of distinct architectural, futuristic interior spaces of absent or minimalist decor inhabited by the protagonists. The space seems sterile, but can be read as a metaphor of the womb as a safe space of infinite harmony – a space not only protected from exterior chaos but that even doubts the existence of any kind of chaos at all. Like its inhabitant, the space conveys a sense of other-worldly, idiosyncratic beauty, foreseen in the lifestyle tendencies of [[Zeitgeist]] but that exists without any of the capitalistic drama.
In Adaptasi Cycle depictions of vast natural landscapes clash with the intimacy of distinct architectural, futuristic interior spaces of absent or minimalist decor inhabited by the protagonists. The space seems sterile, but can be read as a metaphor of the womb as a safe space of infinite harmony – a space not only protected from exterior chaos but that even doubts the existence of any kind of chaos at all. Like its inhabitant, the space conveys a sense of other-worldly, idiosyncratic beauty, foreseen in the lifestyle tendencies of [[Zeitgeist]] but that exists without any of the capitalistic drama.


The characters in Borrás’ works are often surrounded by an eerie beauty and perform in oscillating states of physical extroversion and deep introspection, making them seem both alive and lifeless alike. As benevolent ghosts - being both present and absent at the same time, completely at peace with their existence and determination, they roam space and time in a knowing, elegant manner. In their limbo, they become the embodied manifestations of Borrás’ dystopian vision and prototype of future human existence, that has evolved through [[Biotechnology|bio-technological]] progress by breaching with its physical limitations and conventional pruderies but nevertheless incorporating ancient methodologies of the spiritual world.
The characters in Borrás’ works are often surrounded by an eerie beauty and perform in oscillating states of physical extroversion and deep introspection, making them seem both alive and lifeless alike. As benevolent ghosts - being both present and absent at the same time, completely at peace with their existence and determination, they roam space and time in a knowing, elegant manner. In their limbo, they become the embodied manifestations of Borrás’ dystopian vision and prototype of future human existence, that has evolved through [[Biotechnology|bio-technological]] progress by breaching with its physical limitations and conventional pruderies but nevertheless incorporating ancient methodologies of the spiritual world.
Line 34: Line 36:
Borrás creates a universe that invokes the ancient and the futuristic simultaneously, addressing transience and sublimation as omnipresent phenomena, yet never disclaiming the eudaemonic alignment of its inhabitants.
Borrás creates a universe that invokes the ancient and the futuristic simultaneously, addressing transience and sublimation as omnipresent phenomena, yet never disclaiming the eudaemonic alignment of its inhabitants.


⚫
Text by Julia Schmelzer. Pylon Hub. About the work of Mit Borrás. Excerpt from the text Eudaemonic Rites of Passage for the Catalogue Heavven | Mit Borrás by Exgirlfriend Gallery. Berlin, 2021.


⚫
== Conferences ==
⚫
Text by Julia Schmelzer. About the work of Mit Borrás. Excerpt from the text Eudaemonic Rites of Passage for the Catalogue Heavven | Mit Borrás by Exgirlfriend Gallery. Berlin, 2021.


2024 Symbiosis with Machines. Canal Connect. Madrid, Spain


2023 Future Creatures. Windmill, Seoul, South Korea
⚫
== Conferences ==


2023 AI Love. Improper Walls. Vienna, Austria
⚫
2022 The Future is an Animal. Instituto Europeo Di Desgin. Madrid, Spain


2022 Videoart. Professor. Escuela Sur. Madrid, Spain
2023 Tech Altars and Digilovers. TAI University. Madrid, Spain


2021 New Spaces for Digital Art. Fundación Telefónica. Madrid, Spain
2023 Future in the Evolution of Our Species. Canal Connect. Madrid, Spain


2020 New Media and Communication in Art. Professor. Escuela Sur. Madrid, Spain
2023 Techno Altars. Cyborgs and Modern Monsters. Fjord. Madrid, Spain


2020 Comunication I. Master. Professor. Escuela Sur. Madrid, Spain
2023 Digital Culture. Professor. Digital Fashio Master. IED. Madrid, Spain
⚫
2022 Future is an Animal. Instituto Europeo Di Design. Madrid, Spain


2019 New Media and Communication in Art. Professor. Escuela Sur. Madrid, Spain
2022 Videoart. Professor. Escuela Sur. Madrid, Spain

2021 New Spaces for Digital Art. Fundación Telefónica. Madrid, Spain

2020 New Media and Communication in Art. Professor. Escuela Sur. Madrid, Spain

2020 Communication I. Master. Professor. Escuela Sur. Madrid, Spain

2019 New Media and Communication in Art. Professor. Escuela Sur. Madrid, Spain


2017 There is Nothing Like The Future. LetArt. Madrid, Spain
2017 There is Nothing Like The Future. LetArt. Madrid, Spain
Line 60: Line 73:
2016 Proyector, Videoart Festival. Belmond Monaterio. Cusco, Perú
2016 Proyector, Videoart Festival. Belmond Monaterio. Cusco, Perú


2016 Politics Poetics. ICPNA Cusco, Perú
2016 Politics Poetics. [[ICPNA|ICPNA Cusco]], Perú


2015 Teaching New Media Art and Creativity. Madrid, Spain
2015 Teaching New Media Art and Creativity. Madrid, Spain
Line 77: Line 90:


== Press articles ==
== Press articles ==

                     
=== English ===
=== English ===

[https://www.kaltblut-magazine.com/house-of-chappa-presents-ghosts-of-the-future-ravve-by-mit-borras/]

[https://kubaparis.com/submission/386491]

[https://yyyymmdd.de/2022-A-L-T-A-R]

[https://artviewer.org/mit-borras-at-house-of-chappaz/]

[https://www.nastymagazine.com/art-culture/mit-borras-ergonomic-heavens/ Interview at Nasty magazine]
[https://www.nastymagazine.com/art-culture/mit-borras-ergonomic-heavens/ Interview at Nasty magazine]


Line 118: Line 140:
[https://www.neo2.com/mit-borras-con-aleph-projects-en-tel-aviv/ Transmediale]               
[https://www.neo2.com/mit-borras-con-aleph-projects-en-tel-aviv/ Transmediale]               


[https://mmmad.art/Mit-Borras Mmmad]    
[https://mmmad.art/Mit-Borras Mmmad]

⚫
==External Links==


==References==
⚫
https://mitborras.com/
{{reflist}}


⚫
==External links==
https://www.instagram.com/mitborras/
⚫
* [https://mitborras.com/ Official website]
⚫
* [https://vimeo.com/funfgalerie Cavve Pavilion]


{{Authority control}}
⚫
https://vimeo.com/funfgalerie
{{DEFAULTSORT:Borras, Mit}}
[[Category:1982 births]]
[[Category:Artists from Madrid]]
[[Category:Spanish contemporary artists]]
[[Category:Living people]]
[[Category:Conceptual artists]]

Latest revision as of 04:28, 31 October 2024

Mit Borrás (Madrid, 1982) is a Spanish visual artist based in Madrid and Berlin.

His work examines the relationship between human, nature and technology and their purpose of evolution. He has developed a work complex that encompasses visions of a post-human state of consciousness. Its center of focus is based on the interconnectivity between biodiversity and technological progress and the philosophical concept of adaptation as a method of surpassing categorial limits of existence. His work are essayistic portraits in the form of video-based works, performances and multi-dimensional installations, embody an augmented state of awareness.

The work of Mit Borrás has been exhibited at Centre Pompidou, Paris (2022), Art Dubai,[1] UAE (2022), the Hara Museum,[2] Tokyo (2010), Exgirlfriend Gallery, Berlin (2016–21), Tick Tack Gallery,[3] Antwerp (2021), The Wrong Bienale,[4] Paris (2021), Art Cologne (2021), Pylon Hub,[5] Dresden (2021), Harddiskmuseum,[6] Paris (2020), Arebyte Gallery,[7] London (2019), Towards the Last Unicorn, Sau Paulo (2019), Dimora Artica, Milan (2018), Frontviews, Vienna (2019) Berlin (2018) and Athens (2018), Aleph Projects, Tel Aviv (2017),Biennial of Media Arts of Chile[8] (2017), Palacio Fernandini and Art Lima, Lima (2016), Museo de Bellas Artes de Chile (2017), Kreuzberg Pavillon, Berlin (2013) and Norway (2016), Loop Barcelona[9] (2010,15-19 ), Transmediale,[10] Berlin (2011) among others.

He has directed the production of digital art festivals, carried out numerous projects as an independent curator, co-directed Fünf Galerie in Berlin (2010–14) and worked as coordinator of cultural projects at the Instituto Cervantes in Germany ( 2014).

Borrás collaborates as teacher of Ergonomy at TAI University, Digital Art, Video Art and Communication for the UC3 University at Circulo de Bellas Artes Escuela Sur, and Introduction to Digital Culture at Instituto Europeo de Diseño IED for the Master of Digital Fashion.

Is the founder and director of the studio CAVVE with Rachel Lamot as Creative Director and Head of Production. His work is represented in Spain by House of Chappaz gallery[11] and is member of the art collective Frontviews[12] and Haunt center in Berlin.

Work

[edit]

Mit Borrás has developed a work complex that encompasses visions of a post-human state of consciousness. Its center of focus is based on the interconnectivity between nature and technology and the philosophical concept of adaptation as a method of surpassing categorial limits of existence.

Adaptasi Cycle is a divination of our reality, transcending limits of past and futures, synthetic and organic or nature and technology. Essayistic portraits in the form of digital art, video-based works, performances and multi-dimensional installations, embody an augmented state of awareness of these aspects and operate as individual suites of this opus of Borrás. Visual artist Rachel Lamot is the art director and co-writer for Adaptasi Cycle and Daniel Vacas Peralta has composed the music for it.

His body of work has an holistic approach to the wellbeing and balance of body and mind, aiming at the conjunction between the inner and outer world, as a form of healing. Rites are a central and recurring theme of Adaptasi Cycle, as the epitome of mental immersion through physical acts and exercises. Through meditation, (kemetic) yoga, and conscious workout, the characters in Borrás’ work seem to perpetuate the connection of their soul to a higher and immortal realm of existence.

Equally, Borrás’ work addresses the paradox of our accelerationistic culture: an intrinsic predisposition to fear death, yet idealizing (technological) progress, when in fact progress applied to the human body as the vessel of our existence, ultimately means decay. Subsequently, there is an urge for strategies to overcome this fear and to learn how to deal with the dismal reality of the inescapable decomposition inherent in nature, as a form of healing.

The work complex of Borras encompasses a visual dichotomy of wild, untamed, evanescent nature on the one hand, and man-made, contained culture, such as technology on the other hand.

In his video work Heavven from Adaptasi Cycle, scenes of an isolated and highly focused protagonist, watched and followed by his AI robotic companion, alternate with sequences of nature's micro- and macrocosm. Aerial views of glaciers, snowed mountains and dense forests are followed by animated mushrooms, representative of a higher level of holistic connection, as the fungi are only the fruit of their mycorrhizal network - the so-called mushroom network, which connects bigger plants like trees through tiny threads of the mycelium. With this in mind, Borrás’ work is equivalent to the picture of the tip of the iceberg, as if a subtle glimpse into a highly complex universe, the visualized essence of our reality's noise and its underlying entanglement of every element and ultimately its sublimation.

His visual language facilitates the dialogue between nature and culture, or more precisely the organic and the synthetic. From time to time, elements of both worlds wander in their natural composition in the respective other realm. Sometimes they appear as a surrogate of their original template, reminiscing its absence as a form of eternalizing its soul and to sustain its metaphysical connection. However, the dichotomy of both worlds is not strictly excluding of their counterpart. In the duality of this scenario, Borrás locates what can be identified as human nature in highly stylized interior spaces, which exemplify the opposite, the synthetic, at a first brief glance. At a second glance, we notice that the appearing characters have already undergone an evolution, morphing into their post-human existence, being bionic examples of technology merging with the human flesh. Through their adaptation, these humanoid personae embody the rites of passage of future human existence possibly evolving in a hyper technologized world.

In Adaptasi Cycle depictions of vast natural landscapes clash with the intimacy of distinct architectural, futuristic interior spaces of absent or minimalist decor inhabited by the protagonists. The space seems sterile, but can be read as a metaphor of the womb as a safe space of infinite harmony – a space not only protected from exterior chaos but that even doubts the existence of any kind of chaos at all. Like its inhabitant, the space conveys a sense of other-worldly, idiosyncratic beauty, foreseen in the lifestyle tendencies of Zeitgeist but that exists without any of the capitalistic drama.

The characters in Borrás’ works are often surrounded by an eerie beauty and perform in oscillating states of physical extroversion and deep introspection, making them seem both alive and lifeless alike. As benevolent ghosts - being both present and absent at the same time, completely at peace with their existence and determination, they roam space and time in a knowing, elegant manner. In their limbo, they become the embodied manifestations of Borrás’ dystopian vision and prototype of future human existence, that has evolved through bio-technological progress by breaching with its physical limitations and conventional pruderies but nevertheless incorporating ancient methodologies of the spiritual world.

Symbols of mystical quality and shamanism are interweaved with elements of modern vapor-wave and techno-futuristic aesthetics, creating an extremely distinct visual and stylistic language, that makes Borrás’ work a manifest of post-humanistic discourse in a dystopian era. The distinct and consequent aesthetic determination of his work might seem intimidatingly cathartic at times, but in actuality, it stems from a vision and pure desire for serenity, clarity, and innocence within his post-human, transitory realm. Borrás creates a universe that invokes the ancient and the futuristic simultaneously, addressing transience and sublimation as omnipresent phenomena, yet never disclaiming the eudaemonic alignment of its inhabitants.

Text by Julia Schmelzer. Pylon Hub. About the work of Mit Borrás. Excerpt from the text Eudaemonic Rites of Passage for the Catalogue Heavven | Mit Borrás by Exgirlfriend Gallery. Berlin, 2021.

Conferences

[edit]

2024 Symbiosis with Machines. Canal Connect. Madrid, Spain

2023 Future Creatures. Windmill, Seoul, South Korea

2023 AI Love. Improper Walls. Vienna, Austria

2023 Tech Altars and Digilovers. TAI University. Madrid, Spain

2023 Future in the Evolution of Our Species. Canal Connect. Madrid, Spain

2023 Techno Altars. Cyborgs and Modern Monsters. Fjord. Madrid, Spain

2023 Digital Culture. Professor. Digital Fashio Master. IED. Madrid, Spain 2022 Future is an Animal. Instituto Europeo Di Design. Madrid, Spain

2022 Videoart. Professor. Escuela Sur. Madrid, Spain

2021 New Spaces for Digital Art. Fundación Telefónica. Madrid, Spain

2020 New Media and Communication in Art. Professor. Escuela Sur. Madrid, Spain

2020 Communication I. Master. Professor. Escuela Sur. Madrid, Spain

2019 New Media and Communication in Art. Professor. Escuela Sur. Madrid, Spain

2017 There is Nothing Like The Future. LetArt. Madrid, Spain

2017 Deer Shit. The Soft Slave Wonder. Validadero. Bogotá, Colombia

2017 Ergonomic Technology. Medialab-Prado. Madrid, Spain

2016 Proyector, Videoart Festival. Belmond Monaterio. Cusco, Perú

2016 Politics Poetics. ICPNA Cusco, Perú

2015 Teaching New Media Art and Creativity. Madrid, Spain

2015 Resist Restart. Vesselroom project. Berlín, Germany

2014 Structure of the idea. Forum. Berlín, Germany

2012 Didactics of contemporary art in youth. BAMF Schule. Berlín, Germany

2009 Experimenta club. La casa encendida. Madrid, Spain

2009 Art scene in Madrid. Documentary. Globe Trekker, International

2008 Process in media art. Apple store. London, England

Press articles

[edit]

English

[edit]

[1]

[2]

[3]

[4]

Interview at Nasty magazine

Pylon Hub. Article. Heavven

Artviewer. Mit Borrás at Exgirlfriend

Swarmmag. Mit Borrás

Gallery Talk. Berlin Gallery Weekend Best Exhibitions

Kuba Paris. Heavven. Mit Borrás

Scandale Projects. Mit Borrás

Kuba Paris. Phantom Limb. Mit Borrás

Interview at Tique Art

Vvovva. Mit Borrás

Kaltblut

Pylon Hub. Adaptation Cloud. Mit Borrás

Spanish

[edit]

Entrevista en Neo2. Heavven.

Entrevista en Metal Magazine

Phantom Limb. Entrevista en Neo2

Teen Wave en Neo2

Youth Cloud

Aleph Projects

Transmediale               

Mmmad

References

[edit]
  1. ^ Dubai, Art. "Art Dubai | Home". Art Dubai. Retrieved 6 July 2023.
  2. ^ "Hara Museum Web".
  3. ^ "Welcome to TICK TACK — Tick Tack". ticktack.be. Retrieved 6 July 2023.
  4. ^ "TheWrong". thewrong.org. Retrieved 6 July 2023.
  5. ^ "Pylon Hub".
  6. ^ "DESKTOP". Retrieved 6 July 2023.
  7. ^ "arebyte Gallery". arebyte Gallery. Retrieved 6 July 2023.
  8. ^ "Inicio | Museo Nacional de Bellas Artes". www.mnba.gob.cl. Retrieved 6 July 2023.
  9. ^ "Loop Barcelona – The platform for artists films and videos". loop-barcelona.com. Retrieved 6 July 2023.
  10. ^ "transmediale". transmediale.de. Retrieved 6 July 2023.
  11. ^ https://houseofchappaz.com/es
  12. ^ V, Frontviews e. "frontviews". frontviews. Retrieved 6 July 2023.
[edit]
Retrieved from "https://en.wikipedia.org/enwiki/w/index.php?title=Mit_Borrás&oldid=1254475821"