The Artist uses symbols and lines to create lyrical landscapes, and narratives that range between fantasy and reality, thus representing a metaphor for the human odyssey. The use of books displayed closed is something common in her sculptures. This is the first book art in which she displays an opened book, but it cannot be read for it to emit sounds.

Sandra Cinto [Santo André, 1968] lives and works in São Paulo. Represented by thegalleries Casa Triângulo, Tanya Bonakdar. Recent solo shows: Library of Love, Contemporary Arts Center [Cincinnati, US, 2017]; Chance and Necessity, USF Contemporary Art Museum [Tampa, 2016]; En Silencio, Matadero [Madri, 2015]; La otra orilla, CAAM [Ilhas Canárias, 2015]. Participated in São Paulo [1998]; e da Bienal do Mercosul [1999, 2005, 2015].


It was ten years ago when we bumped into Sandra Cinto’s work for the rst time while wandering the streets downtown São Paulo, Brazil. e sculpture made of bronze stands on Quitanda Street, downtown Rio – a bench supported by stacks of books beneath some of its legs to compensate for the uneven sidewalk surface – made us seek other works by the artist. To our astonishment, we realized that the books were a constant element of the sculptures, always closed or, as in the work Silence Box (Caixa de Silêncio), hermetic.
In 2013, two reasons made us invite Sandra for the publishing company’s debut: rst, the rapport she had with the educational community; second, our own curiosity to know how the artist would conceive the idea of an open book. We then invited her to open her books so that we might have the opportunity to explore them.
The project displayed here, Score (Partitura), is a consequence of the last series that were exhibited in Brazil, at Casa Triângulo, and in the U.S., at Tanya Bonakdar Gallery, under the titles Pause (Pausa) and Piece of Silence, respectively. In her latest set of works, these assumed shades of colors that had not been seen in Sandra’s work for a long time, and were decorated with delicate drawings.
The intervention in the exhibition space took place by adding lines to the walls: typical score staves converge to provide support to the sculptures, which are composed of musical instruments, many of which standing on stacks of books.
Sandra incorporated the same elements into her work Score (Partitura): the stave converges as pages are turned, pauses the movement on the work’s central double page, and creates a horizon and drawings, which make us experience the vibration and sound waves that ow through the book, and thus change the code of this support.
The artist will draw on each of the 15 copies, printed in lithography and protected by fabric folders, which lean on a wooden support especially designed and made for the publication.
erefore, each work will be unique, although part of an edition composed of 15 copies. e work format was inspired by old musical study notebooks, and the choice for lithography came from the fact that the technique was devised for printing scores at the end of the thirteenth century, and was subsequently used for reproductions.

Partitura [Score]

Sandra Cinto


40 pages
34 x 28 cm
15 copies, each one unique
Public Collections: MAC USP, MoMA NY