Marina Borges’ practice (1993, Porto Alegre) absorbs and reindexes a specific catalog of industrial materials such as leather, latex, silicone, metal, and images extracted from the cultural industry. Through operations that displace, obliterate, and fuse, the artist creates unusual arrangements that provoke unease and strangeness while invoking a universally intelligible grammar. Her works emerge from the fissures that surrealism can open in the harshness of everyday life, existing in a limbo between the magic of the spell and the brutality of the material, between the mysteries of subcultures and the excesses of mass culture, and between the complexity of desires and the fetishes of the economy. She creates objects, videos, and photographs that propose dialogues between form and content, elaborating tactile and synesthetic experiences that scramble perceptions and sensations, generating new meanings that only exist in the fragile balance between magnetism and repulsion.
She held solo exhibitions at Fotogaleria Virgílio Calegari (2018, Edital IEAVi, Porto Alegre) and Galeria Prego (2019, Porto Alegre). Among her many group exhibitions, highlights include the “Circuito Universitário da Bienal de Curitiba” (2019, Galeria de Artes and Caixa Cultural, Curitiba); “Matéria Difusa – Um olhar sobre a coleção MACRS. Recorte Imargem” (2022, Museu de Arte Leopoldo Gotuzzo, Pelotas); “Papel Aceita Tudo” (2022, Sé Galeria, São Paulo); “Contra-Flecha: Gestos de Amor / Práticas de Sedução” (2024, Almeida & Dale, São Paulo); “Nham Nham Nahm” (2024, MACRS, Porto Alegre); and “Fartura” (2025, Galeria Luísa Strina, São Paulo).
In 2019, she received the “Fundação Ecarta” award at the “Salão Fundarte de Arte 10×10”. Her work is in the collections of Fundarte Montenegro and the Museu de Arte Contemporânea do Rio Grande do Sul – MACRS.
