Andrés Isaac Santana and Daniel G. Alfonso as curators, OCULTOS APARENTES sample is exhibited, devised regarding the work of Peruvian artists Carolina Bazo, Claudia Caffarena, Sandra Cannock, Ana Cecilia Farah, Carolina Kecskemethy, Rossana López-Guerra, Mariú Palacios, Kylla Piqueras, Gianna Pollarolo, Alessandra Rebagliati, Mariana Riveros, Rocío Rodrigo, Iliana Scheggia, in Zapadores City of Art, inside the Arco Vip 2019 program. A sample that organizes, as far as posible, a female sight to the problems of a cultural contemporary concept that is discussed among: the feeling of resentment, skepticism, and wear.
- You might be interested:
About the sample, stated one of its curators:
The occultation, the cimarronaje, the transvestism, the sinuous, the split, have always been strategies of conservation and resistance, become, in the end, in high-performance aesthetic maneuvers in the anthropological and social spheres. Ocultros Aparentes, which brings together the work of these thirteen dissenting, interpellant and subversive Amazons, proposes, without a doubt, a panorama of centralization of the female voice in which the exclusive verticalism of the new shift fascism is celebrated; but, on the contrary, that of fragmented and expeditious horizontality. The works gathered here do not seek to respond, as did the writers of the Latin American Boom, to the great mysteries of holistic identities and stories that go beyond the basic principles of reality to set their goals in commercial fiction and the smuggling of airport souvenirs. Different from it, these works speak from a place of enunciation very own, very personal, very intimate. Without abandoning, not for a moment, of course, the complicity with the cultural environment that inhabits them and that -for force- determines them. But always from the emancipation with respect to any dictatorship of the said and the pre-established. These thirteen Amazons know (they know well) that if I define myself from the voice of the other, it will always be that other who manipulates my projection and cuts my image in front of the mirror, sterile and standardized reproductions.
Then, its works are articulated around emotional as well as ethical points of view in which he reflects to the satisfaction of being in a state of stillness and silence (also of reverberation and nerve). Positions that allow each piece to be located in a zone of meditation, of intellectual maturation, of reflection. What, perhaps, can be reverted into a dialogue and of intelligent enjoyment with the cultural interlocutors of these proposals. In this way, a frontal conversation is maintained with narrative handles such as those of identity, expanded ontology, the sign woman (stratified to infinity), the lapsed and prolix springs of collective memory, the passage of time and silence in both what a metaphor of speech and affirmation.
Ocultos Aparentes, without intending it, results in a map – rugged, stratified, idealized and perhaps possible- of contemporary Peruvian Art.
– Andrés Isaac Santana