Ana Teresa Barboza | Alberto Casari | Valeria Ghezzi | Alejandro Jaime | Koening Johnson | Sandra Nakamura | Natalia Revilla | Ana Orejuela | Raúl Silva
The cracking of an element is a sign of separation; a fissure that supposes a vestige of damage and that also becomes the irruption of the emptiness in the experience of perception of a body. Those lines -or hollow areas-, indistinct to the purpose that any object has had, are delimited from their degree of density and resistance; its shape, is thus configured from the materiality of each object. In the end, a void or all the voids speak of the same thing, they have a similar nature: that of the empty space, an absent image.
Concentric lines of an astral cartography, terrestrial cartographies and bordering spaces in dispute, the breakdown of historical documents. On the other hand, from seemingly heterogeneous points, the sense of abstraction, the mold of a personal object as a repository of memory, the fabric. A question is opened here to the spectator. In what way and for what purpose is the void used in each of these objects? It is about organizing the meaning of the present vacuum, organizing a set of null spaces, aligning the fissure of each object to understand the deliberate connections of each break.
Ana Teresa Barboza
Telar de cintura
This is a piece made in loom, with sheep wool and alpaca dyed with natural dyes. The artist proposes here to see the work in loom as an ecosystem, the body that made this piece is part of the fabric that goes in all directions, where we have the vegetables and minerals with which the thread was dyed, the alpaca and the sheep from which the fur was extracted, the water that cleaned them and the sun that dried them in the mountains where the animals were fed. By joining the piece through the dress, we approach all these processes
that are part of our environment.
Casari explores the possibilities where the painting is inverted or simply disappears: the traditional support of the fabric and frame is altered to give way to elements of industrial production thought as aesthetic objects from the observation of its most elementary qualities. Thus, line, plane and volume make up the image from the materiality of wood slats, painted fabric and some altered elements that have been collected and reused. Casari’s work demands a sensory and subjective approach; a full approach to materiality
and its symbolic potential.
This work explores the rift between Western education and the original or primitive state. Slate and ink, collage and oil on linen and yanchama fiber brought from the Amazon. Straight and sinuous, disparate lines coexist in order to challenge our perceptive sense.
The spirit, stripped of everything that is learned, is submerged in a deep rhythm that takes center stage, in a language that above all seeks universality.
Norte y Sur
Through an imaginary geography – that also raises a coast, mountains and jungle- North and South addresses the comprehensive view from the vigilant, and places a tension in the implications of the visibility of one and another territory. Thus, a totally mapped world is governed by the aesthetics of a digitalized nature, where the veils of information are extensions of a landscape in transformation. Can painting restore the Landscape aura of any represented territory? If so, their intentional syntheses (not data) are part of a nature to be represented.
Desalineaciones. Ceques limeños fortuitos
The Inca ceques were a complex ritual / calendar system that consisted of 42 imaginary radial lines that started from the Coricancha towards 328 huacas or sacred places around the city of Cusco. These lines were closely related not only to geography and geometry, but also to astronomy and social groups (ayllus) in charge of pilgrimages. These new maps of ceques (cracks) are an adaptation of a
project that was presented at the Coricancha, in 2016, as a result of the tour of the city and the discovery, by the district of Wanchac, of a series of discarded windshields. The analogy, now from the context of Lima, to address the equilibrium relations between the geographic, astronomical, social, political and cultural that the Incas had and the enormous abyss that separates our modern idea of social relations – misaligned – with our environment.
De la serie Colorless to White
This installation is part of the Colorless to White project, chosen by the CIFO Foundation in the Emerging Artist category and is the result of a research on the economic, geographical and political implications of the Salar de Uyuni in relation to the history of Bolivia and the various connotations of salt as material. The present proposal demonstrates a continuous interest in investigating the implications of the conflicts generated from the concept of property and the empowerment of the land in relation to specific historical contexts.
Topografía de la memoria
This work is the appropriation of a patch woven by my mother. Reproduction, alteration, molds in negative and positive; the fabric was transformed as a modular piece into a whole: a blanket or a skin as a metaphor for a genealogical memory: four generations of women from the same family.
It is memory as a burden that alters everything in its path, reconstructing episodes in its own way, crossing us and forcing us to tell a story from our versions, empty and inaccurate, and continuing.
These drawings are the contour lines of the topographic map of Iberia in Madre de Dios, one of the most deforested areas of Peru.
Sobre el cielo de la historia (from the series ejercicios de intertextualidad)
Through the reproduction of fragments of paintings by Bernardo Bitti -one of the first Jesuit painters to arrive in America at the beginning of the seventeenth century- the project aims to build a dislocated historical landscape; a scenario in collapse constructed from references to the internal armed conflict in Peru (1980s) and indications of catastrophes associated with informality and neoliberal economic growth in the last decade in Peru.
Contingentes at Wu Galeria is his second exhibition as Alberto Casari and the works selected have been produced between 2013 and 2017. The differences between each group is not arbitrary, but responds to an intuitive will which classifies formal and sensory aspects above all. Each of the exhibiting rooms, approach different ways of grasping the matter of which the artistic object is made of, emphasizing thus, a degree of intervention the artist has with objects -natural or artificial- on his everyday life.
The influence of Arte Povera, developed during his stay in Italy during the eighties and nineties, are evident in the intent to decontextualize objects, centering on their most visible matter quality. Thus, the works can be seen in direct contact with nature. Industrial production elements can be seen installed as aesthetic objects from the observation of their most elemental qualities such as: tree trunks or wooden strips, leather, wax, painted canvas;some elements by themselves already altered are gathered and reused. Casari’s intervention differentiates his necessity for free action or a poetical reflection similar to an act of epiphany.
Contingency is the indetermination of all that might happen . The way to confront the unintelligible would start , by defect from an objetive approach. Notwithstanding, the works of Casari demand previously and nearly in opposition to it, a sensory and subjective approach, a coming close in the fullest way to materiality , to afterwards think on their symbolic potential.
Contingentes will be open to public at Wu Galería [Av. Sáenz Peña 129, Barranco] since Wednesday 17th of January 2018. The gallery is open from monday till friday from 2:00pm to 7:00pm. For further information, please contact at email@example.com
About the artist:
Alberto Casari / Lima, 1955
Alberto Casari studied Humanities at the Pontificia Universidad Catolica (1973-1975) and painting at the Escuela Nacional de Bellas Artes, Lima (1975-1977). While living in Italy in 1994 he created the Project PPPP (Peruvian Products to Think) and starts experimenting in 1998 with textiles and rugs design. In 2001 he founds PPPP design together with architect and designer Eva Pest. As a result of the development of PPPP project as a business of art, the artist creates different personalities or alter egos like Arturo Covarrubias or and alias the Mystic to approach different art proposals . As from 2017 Casari stoped the PPPP project and recovers his own name.
Casari’s works have been exhibited at the XLIV y LIV Bienal of Venecia (1990 y 2011), IV Bienal de La Habana (1991), I Bienal Iberoamericana de Lima (1997), II Bienal Internacional de Design de Saint Etienne (2000), XXX Bienal de Sao Paulo (2012).
Solo Show – Alejandro Jaime
The animal is symbol, moment and Landscape.
The Sea wolf is the landscape of the underworld, it is the transit,
the intermediate ground, un shape and liquid,
indefinite, foggy and dense;
The entrance to the boundary territory: mainland, sea and island.
It is the bearer towards the last window.
Holocene / Anthropocene.
The Landscape of the era of man, the unique landscape.
Prehistory is still watching us.
Wu Gallery presents the latest work by artist Alejandro Jaime. It is a poetic proposal about the end of the world, which seeks to make us aware of the geological era in which we have lived for 12,000 years and that is coming or has come to an end.
The Holocene is described by scientists as the geological era caused by the disappearance of glaciers in the northern hemisphere, providing a stable climate and the formation of an environment suitable for the survival of humanity. The whole history of our civilization is framed in this period. Human activity has brought about radical changes in the planet’s environment, which is why it is argued that we are already living in a new era called the Anthropocene term not yet officialized, pointed by Nobel Prize winner chemistry in 1995, Paul J. Crutzen (Holland, 1933) to try to define this new period which is probably initiated since the industrial revolution.
The sample includes a set of images related to the human being through animals and large-scale landscapes, born from the artist’s intimate thoughts about diverse territories in relation to their current context of global transformation, related at the same time to production and the value of the image as a representation.
From a personal perspective, the territory at the end of an era needed a set of images to be able to size their meanings. Appealing to a kind of aesthetic of transformation, taking elements and historical references, as connections to refer and evocative territories of memory, Jaime observes both in his memories and his present and in an attempt to locate himself in the history of Humanity, Holocene is presented as a poetic of our era, as we know it.
Downloadable – Holocene, Alejandro Jaime – Wu Galería
About the artist:
Alejandro Jaime 1978 / Lima, Perú. He has a degree in Fine Arts as painter from the Pontificia Universidad Católica del Perú. He also has been studied Photography, Landscape, Public Space and Ephemeral Architecture. He has developed an interdisciplinary artistic work directed to peripheral spaces that refer and evoke the limits of the territory and the different ways to do landscape . In 2016, he participated in the residency program for artists: Yatoo International Residence in Korea developing the project: “Entropías”. He has also been awarded scholarships in recent years to participate in artistic residencies in Argentina, Ecuador, Germany, USA, Mexico, and Canada where he exhibited his work. Among the countries where he has participated in collective exhibitions are: Germany, Korea, Colombia, Argentina, Chile, Mexico, and others.
Photo Credits: Eduardo Hirose.
03/08/2016 - 02/09/2016
Solo exhibition – Ignacio Alvaro
From : August 3 until September 2 2016.
The nineteenth century was for Europe a period of great technological, political and social development. The wars of independence and the emergence of new nations set the scenery for the beginning of a neocolonial capitalist model that gave the northern countries a new kind of hegemony: economic. This period consolidated the preeminence of Europe in the scientific, cultural and academic fields and a new era of archaeological, historical and natural discoveries.
Expeditions like those of Alejandro v. Humboldt, J.J. von Tschudi, Aimé Bonpland or Paul Marcoy, among others, were set out to collect and portray the indescribable, unknown and mythical unexplored corners of the globe. Innumerable texts and illustrations depicted impressive travel experiences. Native customs and cultural material were documented and even physically moved to Europe to elaborate or increase knowledge in libraries, museums and in specialized studies.
Entitled “Viernes”, as the character in Daniel Defoe’s novel, “Robinson Crusoe”; the project aims to question the value of the documents and rationalizations made by travelers about the new cultures they came in contact with during their exploration travels in South American territory. Through the intervention of documents and objects, the artist tries to give visitors the opportunity to question the nature of those museum objects, from its utilitarian or ritual value, trying to escape the label imposed on them by western civilization.
“Viernes” (Friday) will be open to the public in Wu Gallery [Av. Saenz Peña 129, Barranco] from Wednesday 3th August to Friday 15th April 2016. The opening hours of the gallery are Monday through Friday from 10:30 am to 7:00 pm, and Saturday from 3:00 pm to 7:00 pm. For more information, please contact the email: firstname.lastname@example.org
Descargable – Viernes – Wu Galería
About the Artist:
Ignacio Alvaro (Lima, 1983) is a graduate of the school of plastic arts Corriente Alterna in Lima. He was selected for the 2013 Laboratory program “Recent Trajectories in Contemporary Theory and Practical Practice”, directed by curator Max Hernández-Calvo. In 2010 he received the First Prize of the Cerro Verde Young Artists Annual Contest in the Experimental category. Among his most recent exhibitions are: Laguna (Wu Gallery) and Charli (La Polaca).
Photo credits for the exhibition: Eduardo Hirose