Hybrid Identities in Urban Landscapes - catalogue Prague Triennale
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Recent Work Focused on Race, Class, and Social Mobility in Lima, Peru
Latin American and Caribbean Ethnic Studies
How enlightening it was to spend a portion of my 2020 lockdown reading four recent books that examine race, class, and social mobility in Lima. At the same time, reading the works during the pandemic-and in my case, from the United States-it was impossible not to contemplate ways that COVID-19's devastating impact on the coastal capital and throughout the country will shape scholarly understandings of Peru's early twenty-first-century development. Fresh and revealing analyses can feel 'historical' quicker than they usually do, however the aspirations, frustrations, and inequities that Peru specialists have richly documented over the past 15 years or soanalyzing topics like national branding initiatives, transnational migration, extractivism, and the gastronomic boom-seem to impress a new kind of force on the present. Ludwig Huber and Leonor Lamas's Deconstruyendo el rombo intervenes in what will be an evolving conversation about twenty-first-century middle classes in the country. Whereas shortly after the turn of the century scholars could still debate whether or not a Peruvian middle class existed in a meaningful way, developments of the past two decades fundamentally altered the discussion. These changes include, perhaps most obviously, the sustained economic growth Peru experienced and resulting shifts in socioeconomic status and class identification. At least in pre-pandemic times, approximately seven in 10 Peruvians could be categorized as either middle-class or 'emergent' middle class. Yet Huber and Lamas also encourage readers to consider how talking about the 'new middle class' in the Andean nation is not easily disentangled from defending the effects of neoliberal models that politicians, business elites, and news pundits have consistently endorsed since the 1990s. The book's title, a reference to the notion that Peru's recent growth transformed the country's social structure from a 'triangle' to a socioeconomically diverse and less hierarchical 'diamond' (rombo) nicely communicates this point. (For many readers, 'triangle' is likely to evoke Julio Cotler's influential 'triangle without a base' model for understanding elite-subaltern relations [e.g. Cotler 1969]though Huber and Lamas do not seek to revive that specific framework-while the 'diamond' metaphor is most closely associated with the work of marketing specialist Rolando Arellano.
Mobility, Markets and Indigenous Socialities: Contemporary Migration in the Peruvian Andes
2010
Much of the recent ethnographic production on the Andes region of South America tends, not surprisingly, to privilege the current dynamics of indigenous political activism and the ever-changing nature of indigeneity. Indigenous movements, as varied as they are in Ecuador, Bolivia, and Peru, have pushed reconfigurations of questions regarding not only race and ethnicity, but also citizenship, state relations, and globalization. In this context, Cecilie Vindal Ødegaard's ethnography, Mobility, Markets and Indigenous Socialities, is a welcome addition to the mix, a work itself concerned with Peru's indigenous peoples yet attuned to issues that once dominated the ethnographic landscape but have been recently put to the side. These issues include urbanization, squatter settlement development, informal economy, reciprocity and exchange, complementarity, and ritual kinship. In short, this work returns to many of the classic themes that shaped Andean anthropology in the second half of the twentieth century. Although classic in themes, the location is one that has produced surprisingly little ethnographic research in Andean studies. While most treatments of urban life and migration in Peru center around the sprawling metropolis of Lima, Ødegaard's work is situated in the southern city of Arequipa, Peru's second-largest city, which has 1.1 million inhabitants and a migrant population estimated at around 25 percent. Ødegaard draws on an impressive 10 years of intermittent research in the city, a period of time that courses through significant years in Peru's post-civil war development, from the irresolute peace that came with President Fujimori's suspension of democracy in the name of a state emergency to the neo-liberal yoking of the state with the return of former leader Alan García in 2006. The book centers primarily on the lives of newly arrived migrants to Arequipa from the various parts of the southern Andean highlands who have settled in one of the city's relatively oldest neighborhoods. Like many neighborhoods in Peru, Jeruselén began its life as a pueblo jóven (a peri-urban shantytown), founded in the 1960s by squatters who, over time, won title, recognition, and basic services infrastructure. The community is still poor, and, in one sense, Ødegaard's work stands as an ethnographic accounting of how people make ends meet through engagements with different forms of sociality, family and fictive kin, the market, NGOs, and the landscape itself.
Migration and Reconfiguration of the Socio- Economic and Cultural Landscape in Contemporary Peru
Polifonía, 2017
This article examines the transformations of socio-economic and cultural spaces in Peru’s capital that followed the migration of the indigenous Andean population during the insurgency by the Shining Path. The Spanish Conquest divided Peru into two different national realities: the official Peru represented by the state, the institutions of power, and the powerful elite; and the Other Peru, the one of the indigent, dark-skinned masses of the sierra. This project follows the physical and cultural trajectory of the female protagonists of Alonso Cueto’s novel La hora azul and Claudia Llosa’s film La teta asustada. Both characters are forced to flee from rural war zones to the capital. There they must learn to navigate the social landscape of the metropolis while imprinting their own indigenous culture in the capital’s imaginary. In this article I juxtapose the migration, the sexual relationships, and the exploitation of the female protagonists during Fujimori’s neoliberal dictatorship with the cultural displacement, rape, and abuse of the indigenous population during the Spanish conquest. Drawing upon indigenous cultural values that emphasize the importance of community, Miriam and Fausta forge spaces of autonomy and agency for the indigenous female. Collectively the works in this study articulate an alternative Peruvian identity through the integration of the indigenous culture into the national project.
"Rich Peasant, Poor Peasant: Differing Fates of Urban Migrants in Peru" Latin American Perspectives 31 (5). 2004
Latin American Perspectives, 2004
Peruvian Trajectories of Sociocultural Transformation
2013
The story of Peru presents a continuous trajectory of sociocultural transformation where one civilization appropriates, borrows, and builds on the accomplishments of the previous often creating something new and unique. During the Year of Peru program KSU's facu lty and students had the opportunity to learn in depth about Peru's rich history, culture, and modern society. They learned about a country rich in archeological discovery and human history, a story that does not simply begin with the Inca Empire, as the Inca were just one in a long line of powerful ancient civilizations (Chavin, Wari, Nazca, Moche, etc.) that previously ruled the Andean and coastal regions of where modern Peru lies. The Inca ruled over a vast territory and the empire comprised numerous ethnic groups who had been subjugated by either treaty or war. The Year of Peru went far beyond the sensational story of the Conquest when Pizarro and his brothers invaded Peru in 1532, took the Inca ruler Atahualpa hostage and held his empire ransom, forcing his followers to fill a room full of gold and then ki ll ing the ruler anyway (Thomson, 2001, p. 13). Ortega's opening presentation for the lecture series highlighted the challenges and failures of intercultural communication that characterized this epoch encounter. As noted. earlier, much about Inca society and culture was purposely destroyed, removed, or stolen during the Spanish Conquest. In particular, the gold and silver treasures of the empire were collected, melted, and converted into bars, and sent back to increase the treasury in Spain. In the words of Jose Carlos Mariategui (1894-1930), "The Conquest most clearly appears as a break in continuity. Until the conquest, an economy developed in Peru that sprang spontaneously and freely from the Peruvian soil and people .. .. All historical evidence agrees that the Inca people-industrious, disciplined, pantheist, and simple-lived in material comfort" (Mariategui• 1971 , p. J). Throughout the Year of Peru, those attending the events and presentations learned about the devastating effects of not only disease (especially smallpox and measles) and exp loitation that accompanied colonial rule but also the more complicated story of cultural loss and the often prejudiced hybrid mestizo identity of the Hispanic and Indian. Again, as Mariategui (1971, p. 37) argues, "the Spanish established a system of forced labor and uprooted the Indian from his soil and his customs." Indigenous values were lost, denigrated, or appropriated. Only recently indigenous traditions have begun to be reclaimed, especially in terms of understanding the deep cultural, spiritual and natural values, connections, and reciprocity that humans have with the earth. Peru's human ecology is only recently being reinterpreted in light of threats to the biodiversity of the region.
Peruvian Lives across Borders: Power, Exclusion, and Home
2018
In Peruvian Lives across Borders, M. Cristina Alcalde examines the evolution of belonging and the making of home among middle- and upper-class Peruvians in Peru, the United States, Canada, and Germany. Alcalde draws on interviews, surveys, participant observation, and textual analysis to argue that to belong is to exclude. To that end, transnational Peruvians engage in both subtle and direct policing along the borders of belonging. These acts allow them to claim and maintain the social status they enjoyed in their homeland even as they profess their openness and tolerance. Alcalde details these processes and their origins in Peru's gender, racial, and class hierarchies. As she shows, the idea of return--whether desired or rejected, imagined or physical--spurs constructions of Peruvianness, belonging, and home. Deeply researched and theoretically daring, Peruvian Lives across Borders answers fascinating questions about an understudied group of migrants.
A River for Millions: Urban and Rural Lifestyles Meet in Peru
A small river provides a significant amount of Lima´s electrical power and drinking water. The interdependence of the lifestyles of rural dwellers in the river basin and LIma´s millions of urban inhabitants is becoming increasingly evident, and improved governance is necessary in order to avoid increased tensions and conflict, as in other river basins throughout Peru.
Perú: identidad, nación y diversidad cultural
1. Diversidad cultural y globalización Basta prender la radio_ mirar la televisión o pararse frente a un kiosko de revistas y periódicos para darse cuenta de la multitud de conflictos religiosos, lingüísticos, raciales o nacionales que conmocionan amplias zonas del planeta. En otras palabras, conflictos en los cuales la cultura (lengua, religión, modos de vida) y la historia (tradiciones nacionales o étnicas) juegan un papel fundamental. Estos conflictos tienen lugar en países que nos suenan lejanos como Afganistán, Rwanda o Somalía, pero también otros ubicados en pleno corazón de Europa como Rusia, la ex-Yugoeslavia e incluso España, donde los extremistas vascos de la ETA continúan ensangrentando el país, o hasta hace muy poco Irlanda del Norte, parte de la muy civilizada Gran Bretaña. Por eso, si durante buena parte del S.XX, el mundo se vio envuelto en sangrientos conflictos ideológicos que pusieron alguna vez al planeta al borde de su destrucción atómica, algunos anuncian que el S.XXI estará marcado por conflictos culturales, por lo que, Huntington llama "el choque de las civilizaciones", y cuando dice civilizaciones, podemos entender culturas(1). Sin embargo, es posible que Huntington exagere pues no todo es negativo. Basta también prender la radio, mirar la televisión o pararse frente a un kiosko de revistas y periódicos para ver, por ejemplo, al presidente Fujimori frotándose las narices con un jefe maorí en Nueva Zelanda. Vimos esa imagen hacia mediados de 1999, en una reunión de presidentes de los países de la cuenca del Pacífico, que se perfila como el principal escenario económico del S.XXI. Hasta hace algunas décadas, pocos sabían donde quedaba Nueva Zelanda y casi nadie había oído hablar de los maoríes, y menos aún sabía que se saludaban frotándose las narices. Además, hasta hace algunas décadas se creía que país desarrollado era sinónimo de país occidental y cristiano; que para desarrollarse los pueblos tenían que olvidar sus tradiciones y volverse modernos. Tradición y modernidad se entendían como dos polos excluyentes; y el desarrollo como un proceso de modernización homogenizadora. Conservadores, nacionalistas y revolucionarios compartían el mismo criterio, aunque para cada uno de ellos el final de la película fuera diferente. Para unos, al final todos compartiríamos el "modo de vida americano". Para los nacionalistas y populistas, al final todos seríamos uniformemente mestizos y castellanohablantes. Para los revolucionarios, todos pasaríamos por un proceso de proletarización para llegar a alcanzar el ideal del hombre nuevo proletario. Hoy, por el contrario, se reconoce: 1. Que hay diversos caminos a la modernidad y al desarrollo, que el proceso no es necesariamente único, lineal, ni conduce necesariamente a la uniformización. 2. Que no hay oposición tajante y excluyente entre tradición y modernidad. Mas bien las tradiciones, o al menos algunas, pueden ser útiles para el desarrollo, pueden constituir un activo y no un pasivo en los esfuerzos por incorporarse ventajosamente en el mundo global. A partir de estos dos primeros puntos, se reconoce también: 3. Que el desarrollo no se mide sólo por indicadores macroeconómicos como producto bruto interno (PBI) o ingreso per cápita, sino que implica también factores de calidad de vida, sociales y culturales. Comienza a reconocerse, por tanto, el papel de las diferentes culturas en el desarrollo. Más aún, la necesidad de imaginar un desarrollo que posibilite el florecimiento de la diversidad cultural, como afirma un reciente informe de la UNESCO, titulado Nuestra diversidad creativa.
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Katerina Valdivia Bruch
Peru, Germany / Peru, Německo
Hybrid Identities in Urban Landscapes / Hybridní identity v městském prostředí
Project No. 5 / Projekt č. 5
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curator / kurátor
Katerina Valdivia Bruch
Born / Narozena:
Project No. 5 / Projekt č. 5
1975, Caracas, Venezuela
Lives and works in Berlin, Germany. / Žije a pracuje v Berlíně, Německo.
Contact / Kontakt:
[email protected]
www.artatak.net
Phone: +49 162 48 26609
Education / Vzdělání:
2006–2007 Independent Studies Programme, MACBA, Barcelona, Spain
2003 PG Cultural Policies and Management, Barcelona, Spain
2000–2002 Philosophy and Spanish Philology, Freie Universität Berlin, Germany
1993–1999 Bc. Arts in Philosophy, Pontifical Catholic University of Peru, Lima, Peru
Curatorship / Kurátorská činnost:
Positions / Funkce:
2008 independent curator, Gallery IAC-Berlin, Berlin, Germany
press officer, Gallery BodhiBerlin, Berlin, Germany
2007 artistic and managing director, artist in residence and Contemporary Arts Centre GlogauAIR, Berlin, Germany
2005–2006 Casa Asia, Project Manager and Exhibitions Coordinator, Barcelona, Spain
2004 intern at the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington DC, USA
Scholarships / Stipendia:
2006 Tuition scholarship for the Independent Studies Programme, MACBA, Barcelona, Spain
2002 Tuition Scholarship for the Cultural Policies and Management Postgrade at the Universitat de Barcelona, Barcelona,
Spain
Bibliography / Bibliografie:
Re-Imagining Asia. Zwischenräume der Imagination, Kunst Magazin Berlin, March 2008, pp. 16–17.
A Reflection on the Arts – New York in Berlin, Kunst Magazin Berlin, July-August 2007, pp. 12–13.
Kippenbergers Kinder?, Kunst Magazin Berlin, May 2007, p. 7.
Yoshitomo Naras Kinderwelten, Kunst Magazin Berlin, February 2007, pp. 4–5.
El que siempre estuvo allí. Newspaper La Vanguardia, supplement Culturas, March 14th 2007, p. 4.
Thomas Struth – Making Time. Text and Interview Katerina Valdivia Bruch and, Jennifer Becker, Kunst Magazin Berlin,
March 2007, p. 8.
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Katerina Valdivia Bruch / Hybrid Identities in Urban Landscapes / Hybridní identity v městském prostředí
2008 Arts and Conversation, Festival New Life Berlin, Berlin, Germany
Invisible Parcours, Galerie IAC-Berlin. Berlin, Germany
Play Revisited, Galerie IAC-Berlin, Berlin, Germany
2007–2008 IN_FUSION, Exhibition on Peruvian Contemporary Art, Instituto Cervantes Berlin, Instituto Cervantes Munich,
Germany
2007 Arts and Conversation, GlogauAIR, Berlin: The uncanny – Simonetta Fadda, exhibition; Horror, humor and more –
Ana María Millán, exhibition; Play and Time – Kyungwoo Chun, performance; OIO – Erika Matsunami / Antonis
Anissegos, audiovisual performance
Cahiers d’artiste, GlogauAIR, Berlin: Gil Munuera; Wohnzimmer – Laura F. Gibellini; Grounds for Play – Sarah Newman
Open Studios, GlogauAIR
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Katerina Valdivia Bruch
Hybrid Identities in Urban Landscapes / Hybridní identity v městském prostředí
Hybrid Identities in Urban Landscapes reflects on how urban, economic
and social structures influence the work of contemporary artists. This
curatorial project focuses on the hybrid identity of Peruvian culture.
Peruvians mixed origins adds complexity to its social system. It also
enriches it through an hybrid identity in which indigenous, European,
African, Asian and US American culture establish a network of blurring
identities, where none of them is hundred per cent dominant; probably
that is the characteristic of Peruvian culture: a mixed identity, in
which all these diverse cultural discourses are involved in a network
of cultural associations.
Migration from the provinces to the capital city is part of recent
Peruvian history, which has been increasing since the fifties and early
sixties. This migration is involved in racial, ethnic, and class backgrounds.
Lima, the capital city with almost eight million inhabitants, a quickly
growing megalopolis, has been the centre of the country due to its
facilities in communication and access to working class economy. Other
regions and cities have been rather neglected, so that most part of the
country believes to find in Lima the place to grow not only in economical,
but also in social terms. Racism and classicism, almost taboo themes
in Peruvian culture, are expressed in education, entertainment and
leisure industry, but also in mass media. For the migrants, geographical
mobility means social mobility. Unfortunately, mobility, however,
does not mean social acceptance. For instance, in Diego Lama’s work,
ethnical minorities enter luxurious spaces, but in real life they are
unable to access to that luxury. Education is a privilege of the upper
and middle classes, and people from European descent are still the
ones who have the power and dominate the country. Migrants to the
capital city have developed an informal sub-economy which helps them
to survive. Nowadays, this has become part of Peruvian urban culture
and is accepted as a parallel economy.
An example of how to illustrate part of this above mentioned hybrid
identity is the work of Haroldo Higa. The artist depicts tradition as a
means to re-size dimension of identity. Mestizo culture, religious and
superstitious beliefs are the core of these sculptures. By presenting
both Spanish and Andean traditions, he reflects on that beliefs can be
interpreted in two ways: as a matter of faith or a matter of superstition,
depending on the viewer and his or her own thoughts. In this case,
simple souvenirs become a sort of super heroes to believe in.
Lima’s actual urban landscape has developed a new social structure
in which notions of social affiliation and community play an important
role for its inhabitants to establish alliances in their working
environment, leisure time, as well as for family-like relations. This issue
appears in Pablo Patrucco’s drawings, in which a group of construction
workers and a political party are portrayed.
katalog 2008.indd 144
Projekt Hybridní identity v městském prostředí se zabývá tím, jak městské, ekonomické a společenské struktury ovlivňují práci současných
umělců. Soustřeďuje se přitom na hybridní identitu peruánské kultury.
Smíšený původ Peruánců ještě stupňuje už i tak složitý společenský
systém. Ten se však na druhé straně také obohacuje právě prostřednictvím hybridní identity, v rámci které domorodá, evropská, africká,
asijská a severoamerická kultura vytváří systém nejasných identit, přičemž ani jedna z nich není stoprocentně dominantní. Pravděpodobně
právě to charakterizuje peruánskou kulturu nejvíce: smíšená identita,
ve které rozmanité kulturní aspekty vytváří síť kulturních asociací.
Součástí nedávné peruánské historie je i migrace obyvatel z provincií do hlavního města, která od padesátých a začátku šedesátých let 20.
století znatelně vzrostla. Tato migrace má rasové, etnické a třídní pozadí. Hlavní město Lima, rychle se rozrůstající velkoměsto s téměř osmi
milióny obyvatel, je centrem celé země díky komunikačnímu potenciálu a vzestupu ekonomiky pracující třídy. K rozvoji jiných oblastí a měst
prakticky nedochází, takže většina obyvatel se domnívá, že právě Lima
je místo možného ekonomického, ale i společenského růstu. Rasismus a
třídní rozdíly – témata, která jsou v peruánské kultuře téměř tabu – se
projevují ve vzdělání, zábavním průmyslu, ale také v masově komunikačních prostředcích. Pro přistěhovalce představuje geografický posun
i posun společenský. Bohužel, v praxi to však neznamená také příznivé
společenské přijetí. Například v díle Diega Lamy etnické menšiny vstupují do luxusních prostor, ale ve skutečném životě nemají k takovému
luxusu přístup. Vzdělání je privilegiem vyšších a středních vrstev a
zemi ještě stále vládnou lidé s evropskými kořeny. Venkované, kteří
se přistěhovali do hlavního města, si však vybudovali neformální subekonomiku, která jim pomáhá přežít. Dnes se stala součástí peruánské
městské kultury a je akceptovaná jako paralelní ekonomika.
Příkladem ilustrujícím část zmiňované hybridní identity je dílo
Haroldo Higa. Umělec zobrazuje tradici jako prostředek na přehodnocení rozměrů identity. Jádrem jeho skulptur jsou mestická kultura,
náboženská víra a pověrčivost. Využíváním jak španělských, tak andských tradic poukazuje na to, že víru a pověrčivost je možné interpretovat dvěma způsoby: z hlediska víry, nebo z hlediska pověrčivosti, záleží
na divákovi a jeho myšlení. V tomto případě se obyčejné suvenýry stávají super hrdiny, ve které je možné věřit.
Velkoměstské prostředí dnešní Limy podnítilo vznik nové společenské struktury, pro kterou hrají důležitou roli představy o společenském
postavení a komunitě a přispívají k vytváření společenství na pracovišti, ve volném čase a v rodinných vztazích. Tímto tématem se zabývá
Pablo Patrucco ve svých kresbách, na kterých zobrazuje skupinu stavebních dělníků a členy politické strany.
5.5.2008 23:59:36
In the work of these artists, the hybridisation of different cultural
elements coming from religious, social, economical and political
grounds show critically, but also with a slightly sense of humour and
intimacy a recreation of urban landscapes in Peru. The artists selected
for this curatorial project are very much linked to a global international
contemporary art exposure and have already presented their work in a
number of international exhibitions.
V dílech zmiňovaných umělců hybridizace rozmanitých kulturních
prvků, které vycházejí z náboženských, společenských, ekonomických
a politických základů, ukazuje kriticky, ale současně s jemným smyslem pro humor a s důvěrnou znalostí, proměnu městského prostředí
v Peru. Umělci, vybraní pro tento kurátorský projekt, jsou v úzkém
kontaktu s celosvětovým současným uměním a vystavovali svá díla na
mnoha mezinárodních výstavách.
Katerina Valdivia Bruch / Hybrid Identities in Urban Landscapes / Hybridní identity v městském prostředí
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Haroldo Higa
Born / Narozen:
Contact / Kontakt:
Education / Vzdělání:
1969, Lima, Peru
Lives and works in Lima, Peru. / Žije a pracuje v Limě, Peru.
[email protected]
1987–1993 Fine Arts (Sculpture), Pontifical Catholic University of Peru, Lima, Peru
S / S :
G / S :
2007
2006
2005
2004
2003
2008 Play Revisited. Gallery IAC-Berlin. Haroldo Higa, Ardan Özmenoğlu, Berlin, Germany.
2007–2008 IN_FUSION, Instituto Cervantes Berlin and Instituto Cervantes, Munich,
Germany
2007 Prefectural Art Museum of Okinawa, Okinawa, Japan
2006 Post-Ilusiones, Museo de la Nación del Peru, Lima, Peru
2005 Esculturas, Embassy of Mexico, San Salvador, El Salvador
2004 Pasaporte para un Artista, Centro Cultural de la Pontificia Universidad Catolica del
Peru, Lima, Peru
2002 El Juego en la Escultura, gallery Petroperu, Lima, Peru
2001 Sindrome Regresivo, gallery Obsidiana, Lima, Peru
2000 2do. Salon Regional de Lima. Second Ibero-American Biennale of Lima, Lima,
Peru
1999 Jardin Babelico, Centro Cultural de la Universidad Ricardo Palma, Lima, Peru
1998 Escultores del Mundo, First Chaco Biennale, Resistencia, Argentina
1997 10 Artistas del 3er Milenio, Galera Praxis Arte Internacional, Buenos Aires, Argentina
2000
1999
1997
1996
Love, gallery Vertice, Lima, Peru
Ciudad-Luz, gallery 2, Cité Internationale Des Arts, Paris, France
Serotonina, gallery Punctum, Lima, Peru
Linea Negra, gallery Punctum, Lima, Peru
Fantasia, gallery Juan Pardo Heeren, Instituto cultural peruano-norteamericano,
Lima, Peru
Acompańante Silencioso, gallery Praxis Arte internacional, Lima, Peru
Esculturas, 1ra Bienal Internacional de Esculturas, Resistencia-Chaco, Argentina
Las Formas de mis sueńos, Gallery Praxis Arte Internacional, Buenos-Aires,
Argentina
Para Jovenes Corazones, Gallery Praxis Arte Internacional, Lima, Peru
A / C:
2004
1998
1997
1994
1992
first prize – 7th Annual Competition in Visual Arts, Pasaporte Para Un Artista
French Embassy in Peru with the support of the French Government, Lima, Peru
first prize – 7th national meeting and 2nd international meeting in sculpture open
air, Leandro N Alem-Misiones, Argentina
honorable mention, first encounter of Latin American Art and open air sculpture,
Punta Hermosa, Lima, Peru
scholarship for studying at the Prefectural University in Okinawa, Japan, Okinawa
International Foundation
first prize for the best sculpture, Banco de Credito del Peru, Lima, Peru
Souvenirs Cremosos is a group of five large scale sculptures. The artist
recreates a universe of significance that has a sense in Peruvian
imagery. Re-sizing the original small souvenirs in large scale
sculptures, it gives the small gifts an importance and strengthens its
meaning. Typical souvenirs like the Retablo Ayacuchano or Iglesia de
Quinua present indigenous and Spanish based religion still visible in
Andean culture, but also part of Mestizo religious tradition. Related to
this, the sculpture Huaco Erótico represents fertility through an extreme
big phallus. In Peruvian Andean culture, the Ekeko and Torito de Pucará
are not just simple souvenirs. Both of them have a strong superstitious
meaning. If you give the Ekeko some cigarettes to smoke and some
Pisco (Peruvian alcoholic beverage) to drink, it will bring you luck and
your desires will be fulfilled. Usually, two of the Toritos (ceramic bulls),
together with some aliments and a ladder, are put on top of the houses
to protect the house once it has been inaugurated.
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Souvenirs Cremosos je skupina pěti velkých soch. Umělec přetváří významové oblasti, které jsou zakořeněny v peruánském výtvarném umění.
Tím, že původně drobné upomínkové předměty zvětšuje do podoby
velkoformátových skulptur, dodává těmto běžným dárkům důležitost
a zdůrazňuje jejich význam. Typické suvenýry jako Retablo Ayacuchano
nebo Iglesia de Quinta patří k původnímu, ze Španělska pocházejícímu
náboženství, se kterým se v Andách setkáváme ještě i dnes, ale mezitím
se staly také součástí mestické náboženské tradice. V souvislosti s ní
skulptura Huaco Erótico znázorňuje plodnost prostřednictvím obrovského penisu. Ekeko a Torito de Pucaná nejsou v peruánské andské kultuře
jen obyčejné suvenýry. Lidová pověrčivost jim oběma přikládá velký
význam. Dáte-li Ekekovi cigarety a pisco (peruánský alkoholický nápoj),
přinese vám štěstí a vaše tužby se vyplní. Na střechy nových domů lidé
obvykle umísťují spolu s jídlem a žebříkem párek Toritos (býků z keramiky), kteří jej mají chránit.
5.5.2008 23:59:37
Katerina Valdivia Bruch / Hybrid Identities in Urban Landscapes / Hybridní identity v městském prostředí
l147
Souvenirs Cremosos, 2004
© Haroldo Higa
katalog 2008.indd 147
5.5.2008 23:59:37
Diego Lama
Born / Narozen:
Contact / Kontakt:
Education / Vzdělání:
1980 Lima, Peru
Lives and works in Lima, Peru. / Žije a pracuje v Limě, Peru.
[email protected]
[email protected]
2004 Post production and Web Design Workshop, Site Gallery, Sheffield, UK
2003 Non lineal narrative and interactive video, Mediamatic, Amsterdam, The Netherlands
1998–2003 Fine Arts, Corriente Alterna, Lima, Peru
S / S :
G / S :
2008
2007
2006
2005
2008
2007
Entertainment, ICPNA Gallery, Lima, Peru
BOLD, Vértice Gallery, Lima, Peru
Escenografías, Centro Cultural de España, Lima, Peru
Painting, Lucia de la Puente Gallery, Lima, Peru
A / C:
2007
2006
2005
2004
2003
Petrobras - BA Photo, Third Prize, Buenos Aires, Argentina
Videofest, San Francisco, USA
Research scholarship by the French Embassy, Paris, France
Fundación Carolina, Scholarship, Spain
Dossier Videobrasil, honorable mention, Brasil
Passeport pour un Artiste, second prize, French Embassy
Visiting Arts, Residency at Site Gallery, Sheffield, UK
Bienal de Cine y Video, first prize for experimental video
Universidad Ricardo Palma, Diploma and medal for his contribution to the arts
Escuela Superior de Bellas Artes, Corriente Alterna, honors
Project funding HIVOS and World Wide Video Festival, The Netherlands
Diego Lama presents his first large scale photographs of architectural
environments and buildings of former Spanish, now Limeño aristocracy.
This elite still possesses the power and wealth of the country. The
featured people on the images remark the huge gap between an
ethnic minority and the architectural environment in which they are
portrayed.
katalog 2008.indd 148
2006
2005
2004
2003
2002
IN_FUSION, Instituto Cervantes Munich, Munich, Germany
Videografías Invisibles, Museum of Modern Art, Buenos Aires, Argentina
IN_FUSION, Instituto Cervantes, Berlin, Germany
Mirror Mirror on the Wall, Hessel Museum, CCS Bard, New York, USA
Videokunst aus Südamerika, Videonale Bonn, Germany
Videobrasil, Sao Paulo, Brasil
Festival de Cortometrajes de Huesca, Huesca, Spain
Videozone 2, Israel
World Wide Video Festival, Amsterdam, The Netherlands
L.A. Freewaves, USA
Videoex, Switzerland
Diego Lama představuje své první velkoformátové fotografie městského
prostředí a domů bývalé španělské, dnes limské aristokracie. Tato elita
dodnes vládne celé zemi, protože má v rukou moc a bohatství. Lidé na
fotografiích upozorňují na obrovskou propast mezi etnickou minoritou a
prostředím, ve kterém jsou zobrazeni.
5.5.2008 23:59:39
Katerina Valdivia Bruch / Hybrid Identities in Urban Landscapes / Hybridní identity v městském prostředí
l149
Biblioteca Municipal / Městská knihovna, 2007
© Diego Lama
katalog 2008.indd 149
Casa Goyeneche, 2007
© Diego Lama
Collection Instituto Cervantes Munich
5.5.2008 23:59:39
Pablo Patrucco
Born / Narozen:
Contact / Kontakt:
Education / Vzdělání:
1975, Lima, Peru
Lives and works in Lima, Peru. / Žije a pracuje v Limě, Peru.
[email protected]
www.pablopatrucco.com
2005–2006 BA, Universidad Nacional Mayor de San Marcos, Lima, Peru
1994–2000 BA, Painting and Drawing, Escuela Superior de Arte Corriente Alterna, Lima, Peru
S / S :
G / S :
2007
2008
2005
2004
Galeria Arte Nota, La Paz, Bolivia
Galeria Kiosco, Santa Cruz, Bolivia
Galeria Arte Enlace, Lima, Peru
Espacios Comunes, Galeria Lucia de la Puente, Lima, Peru
iCONOS, Galeria Punctum, Lima, Peru
2007
A / C:
2003
2002
1999
1992
finalist, Segundo Concurso de Arte Joven, Municipalidad de Miraflores, Lima, Peru
finalist, Pasaporte para un Artista, Contest, French Embassy, Lima, Peru
first prize, VII Salon Nacional de Dibujo, Instituto Cultural Peruano
Norteamericano, Lima, Peru
third prize, Concurso de Arte Joven Phillips, Museo de Arte de Lima, Lima, Peru
Aventura 92, Scholarship to Spain
Pablo Patrucco’s hyperrealism involves us into daily life environment
and group or community identity. The works of the series of drawings
on canvas, entitled Espacios Comunes, present family portraits in
different social events, friends in leisure time, a group of workers, but
also sympathizers of a certain political party. Through these portraits,
Patrucco focuses on daily life through instants that recreate at the
same time closeness and distance between individuals.
katalog 2008.indd 150
2005
2004
Develaciones. Tendencias, tres artistas peruanos. Jorge Cabieses, Pablo Patrucco,
Jorge Vigil. Peruvian Embassy in Berlin, Berlin, Germany
IN_FUSION, Instituto Cervantes Munich, Germany
IN_FUSION, Instituto Cervantes Berlin, Germany
Biennale of Sharjah, Still Life, United Arab Emirates
ArteBA, Buenos Aires Contemporary Art Fair, Buenos Aires, Argentina
International Art Fair – FIA, Caracas, Venezuela
The Latin American Art Fair ARTE AMERICAS, Miami, USA
The Latin American Art Fair ARTE AMERICAS, Miami, USA
Arte Contemporaneo del Peru (BID), Galeria Lucia de la Puente, Lima, Peru
Hyperrealismus Pabla Patrucca nás zavádí do každodenního prostředí
a k identitě skupiny nebo společenství. Díla z cyklu kreseb na plátně
s názvem Espacios Comunes zobrazují rodinné příslušníky při různých
společenských příležitostech, přátele v jejich volném čase, skupinky dělníků, ale také sympatizanty jisté politické strany. Patrucco těmito portréty ukazuje všední život prostřednictvím okamžiků, které jednotlivce
opětovně spojují nebo rozdělují.
5.5.2008 23:59:41
Katerina Valdivia Bruch / Hybrid Identities in Urban Landscapes / Hybridní identity v městském prostředí
l151
S/T, 2005
© Pablo Patrucco
katalog 2008.indd 151
5.5.2008 23:59:42
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