Exhibition by Álvaro Icaza & Verónica Luyo | Andrea D’Amario
Proyecciones cinéticas presents two projects associated with new technological media recently developed by local artists. Ciclos y variaciones of Álvaro Icaza and Verónica Luyo, explores the relation between tactile, acoustic and visual. The starting point is to formulate sound experiences using materials whose physical characteristics allow the transmission, manipulation and distortion of electrical signals, seeking to translate acoustic manifestations into visuals. To do this, they convert the amplified audio output signal into an image by replacing one of its speakers with a modified TV monitor to function as an oscilloscope.
Alive, the project of Andrea D’Amario, appeals in turn to the interdependence of elements. For this piece, the artist has decided to use the water mirror system to create an animated light projection on the wall, whose patterns will be created by the movements produced in the water by Koi carp fishes. Thus arises a piece in which the chance of the movements is created by a third element, always changing. The artist distances himself from the control over his work to observe, together with the public, his modification, second after second.
Álvaro Icaza [Lima, 1982]. Graduated from the Faculty of Arts of the PUCP and with Master’s studies at the Faculty of Fine Arts of the University of Barcelona, Spain and the Miró Foundation, in Barcelona. Avanzar dando vueltas (2016), his last solo exhibition, took place at L’Imaginaire Gallery of the French Alliance of Lima and Doble Fantasma (2017), his last bipersonal exhibition with Verónica Luyo at the ICPNA in San Miguel, Lima.
Verónica Luyo [Lima, 1978]. Graduated from the Faculty of Art of the PUCP, with master’s studies at the Museum of Contemporary Art of Barcelona and at the University of Barcelona. He counts among his exhibitions Documentary Peru (2014) in the room Le Carre d’Art of the Alianza Francesa La Molina in Lima and two-person shows with Álvaro Icaza, such as Doble Fantasma (2017) at the ICPNA in San Miguel, Lima.
Andrea D’Amario [Paris, 1987] studied at the School of Fine Arts of Clermont Ferrand, in France. He obtains a diploma and master’s degree in the DNSEP (Higher National Diploma of Plastic Studies). Resident in Peru since 2013. He has exhibited his Laniakea project in 2017 at the L’Imaginaire Gallery of the French Alliance in Lima.
Exhibition by Jimena Chávez | Jorge Lévano | Pierina Másquez | Raúl Silva
Contextualizando formas tries to be a platform created to make visible recent projects from young artists in an independent way. The set of four selected artists, born between 1989 and 1993, demonstrates imaginary aesthetics typical of a context of globalization. Finding a common element there is difficult, however, certain edges are delineated from the visual: references to graphic resources and animations typical of a generation, the still persistent interest in the use of the archive, the reappropriation and even the close relationship with the tradition of drawing from a current perspective.
Jimena Chávez [Lima, 1989]. Starting from the idea of ruin, of rest or lag, she seeks to materialize invisible aspects of daily life, relationships with the environment and the object. An archaeological approach to the everyday, where a
material seeks to be visible and kept hidden at the same time, investigating affective, practical and unconscious links between the human being and the space he inhabits. Within her practice, Jimena seeks to constantly explore paradoxes in the matter in a poetic way.
Jorge Lévano [Lima, 1992]. His interests are focused on exploring the intimate territories of people, such as memories, experiences, dreams and testimonies, and then establishing a narrative with them. He is currently experimenting with sequential art and a more instinctive than rational creative process through drawing and painting.
Pierina Másquez [Lima, 1993]. She explores the possibilities of self-portraiture through the affective memory evoked by a series of objects and materialities of her daily life, which she collects and that have accompanied her as she grew up in the city when she was a teenager.
Raúl Silva [Lima, 1991]. His work is articulated mainly from the use and re-appropriation of the archive – visual or textual – to contextualize and open a transversal dialectic of contents. Within this logic, his projects address the
symbolic relations between the colonial period, the ideal of progress and the (post) internal armed conflict in Peru.