ExhibitionDecember 17, 2021
Video-Prospection. Essential Stories of Peruvian Video Art
Until January 2022 the Centro Nacional de Arte Contemporáneo Cerrillos, presents the exhibition "Video-Prospección: Historias Esenciales del Video Arte Peruano", curated by José-Carlos Mariátegui.
A historical panorama of Peruvian video art based on works made in the last 25 years, covering themes, creators, and stages to understand its historical evolution. Peruvian video art is today fully incorporated in the context of the visual arts--participating in shows and exhibitions in galleries and museums, as well as in private and institutional collecting—this process has been gradual. For video art to become established in Peru, it was necessary to develop a community of creators who saw in the moving image and new media a space for creation and exploration that allowed them to reflect on local and global issues permeated by the media and the Internet.
In 1995, the Alta Tecnología Andina - ATA foundation permitted the second edition of the International Video Art Festival in 1998 (originally founded in 1977 by Alfonso Castrillón and Jorge Glusberg at the Banco Continental Gallery in Lima). It was a platform that provided conceptual and technical support for the video projects that were being developed in the country at the time, and at the same time, instituted exchanges with international creators.
At the beginning of the 21st century, the second generation of video art artists characterized by elements and themes such as the imaginary of experimental cinema, the exploration of the territory, or the use of documents and memory in combination with practices such as installation, performance, photography, document, or animation, formed a complex and varied production.
The selection for Cabina Audiovisual brings together video artworks from the collections of the Andean High Technology Foundation - ATA and the Museo de Arte de Lima - MALI, who together formed in 2019 the ePPA project (Espacio-Plataforma de Preservación Audiovisual), which aims to preserve, catalog, digitize and disseminate the Peruvian audiovisual collections that both institutions preserve and research; additionally, other works by artists with whom ATA has been collaborating are shown:
Rafael Besaccia "Magna Opera Op. 2, "Una Vez Más el Amor"", 8 min- Álvaro Zavala (Castor Andino) "Atipanacuy", 1999, 7 min- Roger Atasi "Neo Tokio Mon Amour (remake)", 1999, 7 min- Angie Bonino "La imagen (Das Bild)", 2000, 2 min- Diego Lama "No-latin party", 2003, 2 min- Luz María Bedoya "Línea de Nazca", 2008, 7 min- José Luis Martinat "Bedrock City", 2009, 13 min- Maya Watanabe "Caso Nominativo", 2010, 1 min- Rita Ponce de León "David", 2012, 2 min- Tatiana Fuentes Sadowski "La Huella", 2012, 18 min- David Zink Yi and Angie Keefer "Entrance", 2016, 12 min- Ricardo Yui "Entropía Limeña", 2014, 7 min.
In addition to this selection, two historical animation works are presented that establish an authorial dialogue between Chile and Peru. These are the works "Paracas" 1983, 18 min by Cecilia Vicuña and "The Myth of Inkarri" 1977, 8 min by Mario Acha, the first recently acquired by MALI and the second recently rescued and digitized by ATA. Both works offer a contemporary reading of myths and historical passages of Pre-Columbian America through the appropriation of elements and the use of animation techniques.
For more information: http://centronacionaldearte.cl/programacion/exposiciones-actuales/cabina-audiovisual-video-prospeccion-historias-esenciales-del-video-arte-peruano/
A historical panorama of Peruvian video art based on works made in the last 25 years, covering themes, creators, and stages to understand its historical evolution. Peruvian video art is today fully incorporated in the context of the visual arts--participating in shows and exhibitions in galleries and museums, as well as in private and institutional collecting—this process has been gradual. For video art to become established in Peru, it was necessary to develop a community of creators who saw in the moving image and new media a space for creation and exploration that allowed them to reflect on local and global issues permeated by the media and the Internet.
In 1995, the Alta Tecnología Andina - ATA foundation permitted the second edition of the International Video Art Festival in 1998 (originally founded in 1977 by Alfonso Castrillón and Jorge Glusberg at the Banco Continental Gallery in Lima). It was a platform that provided conceptual and technical support for the video projects that were being developed in the country at the time, and at the same time, instituted exchanges with international creators.
At the beginning of the 21st century, the second generation of video art artists characterized by elements and themes such as the imaginary of experimental cinema, the exploration of the territory, or the use of documents and memory in combination with practices such as installation, performance, photography, document, or animation, formed a complex and varied production.
The selection for Cabina Audiovisual brings together video artworks from the collections of the Andean High Technology Foundation - ATA and the Museo de Arte de Lima - MALI, who together formed in 2019 the ePPA project (Espacio-Plataforma de Preservación Audiovisual), which aims to preserve, catalog, digitize and disseminate the Peruvian audiovisual collections that both institutions preserve and research; additionally, other works by artists with whom ATA has been collaborating are shown:
Rafael Besaccia "Magna Opera Op. 2, "Una Vez Más el Amor"", 8 min- Álvaro Zavala (Castor Andino) "Atipanacuy", 1999, 7 min- Roger Atasi "Neo Tokio Mon Amour (remake)", 1999, 7 min- Angie Bonino "La imagen (Das Bild)", 2000, 2 min- Diego Lama "No-latin party", 2003, 2 min- Luz María Bedoya "Línea de Nazca", 2008, 7 min- José Luis Martinat "Bedrock City", 2009, 13 min- Maya Watanabe "Caso Nominativo", 2010, 1 min- Rita Ponce de León "David", 2012, 2 min- Tatiana Fuentes Sadowski "La Huella", 2012, 18 min- David Zink Yi and Angie Keefer "Entrance", 2016, 12 min- Ricardo Yui "Entropía Limeña", 2014, 7 min.
In addition to this selection, two historical animation works are presented that establish an authorial dialogue between Chile and Peru. These are the works "Paracas" 1983, 18 min by Cecilia Vicuña and "The Myth of Inkarri" 1977, 8 min by Mario Acha, the first recently acquired by MALI and the second recently rescued and digitized by ATA. Both works offer a contemporary reading of myths and historical passages of Pre-Columbian America through the appropriation of elements and the use of animation techniques.
For more information: http://centronacionaldearte.cl/programacion/exposiciones-actuales/cabina-audiovisual-video-prospeccion-historias-esenciales-del-video-arte-peruano/
