HERNÁN PAZOS: ANTHOLOGY STARTING FROM SIMULTANEITY. TRIPTYCHS AND POLYPTYCHS
This exhibit gathers a selection of paintings and sculptures of different periods in the trajectory of Hernán Pazos who studied at the National School of Art and at the workshop of the sculptor Cristina Gálvez, in Lima, and at the École des Beaux Arts of Paris. He has presented individually in numerous countries and has represented Peru at important international events on many opportunities. Germán Krüger Espantoso Gallery. Open to the public. From Tuesdays to Sundays from 11 am. to 8 pm. Free entrance.
DOLFO WINTERNITZ...100 YEARS LATER
The Pontificia Universidad Católica, the ICPNA, the Embassy of Austria in Peru and the Leopold Museum of Viena present this important retrospective exhibit celebrating the centennial of his birth that will allow us to follow his broad trajectory, through his drawings and paintings. With Silvio de Ferrari as curator and art critic, it will be simultaneously presented at the Centro Cultural PUCP and at the ICPNA. G.K.E. Gallery from Tuesday to Sunday from 11:00 a.m. to 8:00 p.m. open to the public from March 15 to April 16.
Elda di Malio: Anthological Exhibit 1968 - 2005
After more than 35 years of artistic presence, Elda di Malio is one of the most outstanding painters in our surroundings. Se studied at the National School of Fine Arts, in the Art School Pietro Vanucci in Perugia and at the Impressions Workshop of Giorgio Upiglio in Milan (Italy). She has carried out numerous individual exhibits and has obtained various prizes, among them the First Prize for Painting for Lima Week, Municipalidad de Lima and the Great Prize of Honor Augusto Wiese, in the National School of Fine Arts. For this exhibit, with Luis Eduardo Wuffarden as curator, the most important part of her extensive artistic trajectory has been gathered. Germán Krüger Espantoso Gallery (Av. Angamos Oeste 160). Open to the public from September 22 to October 30 from Tuesday to Sunday from 11 a.m. to 8 p.m.
The Universe of Arturo Jiménez Borja
The ICPNA and the Universidad Católica have organized under the curatorial of the museologist Luis Repetto, a sample that gathers a selection of the most important between gourds, masks, crowns of feathers, musical instruments and archaeological material- from the collection that Arturo Jiménez Borja treasured throughout his life as a lover of Peruvian popular culture. This exhibit will be open to the public from August 10 to September 11 at the Germán Krüger Espantoso Gallery. Likewise, in the framework of this exhibit as homage to the outstanding work of the collector, as of August 17 until September 25 at the ICPNA San Miguel Gallery, there will be a series of documents, photographs and paintings presented. These illustrate his intellectual trajectory as well as his incursion into the fine arts. From Tuesday to Sunday from 11 a.m. to 8 p.m.
Sonia Prager: Anthology 1977 - 2005
Sonia Prager, one of the most representative artists of her generation, shows us a group of sculptures of great size. Formed at the School of Fine Arts of the Catholic University, and at the Camberwell School of Arts and Crafts of Londres, Prager has a style where, according to the art critic Alfonso Castrillón, the simple but peremptory shapes, boast coarse textures and fissures in a kind of naturalist “minimalism”. With Jorge Villacorta as curator, this anthological exhibit is presented simultaneously and together with the Cultural Center of the Catholic University. Germán Krüger Espantoso Gallery from Tuesday to Sunday from 11 a.m. to 8 p.m. open to the public from June 9 to July 17.
Mírate: Images of Peru 2000 - 2005
El Comercio newspaper invites us to go through these last five years through the photographic images, from the fall of the dictatorship to the current panorama with views of the coming elections, passing by the return to democracy and the first years of the present government. The exhibit emphasizes the most outstanding facts of the national politics, without setting aside the images of social impact that this generates. Complementing this exhibit a video will be projected. Here the authors of the images talk to us about photo press. Germán Krüger Espantoso Gallery (Av. Angamos Oeste 160) from Tuesday to Sunday from 11 a.m. to 8 p.m. open to the public from May 6 to May 29.
Jorge Eduardo Eielson: Teknoquímica 2004 Prize
Established by the Teknoquímica Foundation, this biennial prize in painting has been awarded for more than forty years to national artists in merit to their outstanding trajectory. On this opportunity, Jorge Eduardo Eielson (Lima, 1924) is worthy of this prize, that in its twelve previous editions has been given to Fernando de Szyszlo, Venancio Shinki, Gerardo Chávez, Julia Navarrete, José Tola, Tilsa Tsuchiya, among others. Eielson, who has resided for almost fifty years in Italy, is actually one of the most important Latin American artists. He has been invited to four biennials in Venice (1964, 1966, 1972 y 1988), the Documenta V of Kassel (1972), the III Biennial of Trujillo (1986) and the III Biennial of La Habana (1988); he has carried out numerous individual and collective exhibits in museums all over the world and his books have been published by prestigious editorials and translated to many languages. Germán Krüger Espantoso Gallery (Av. Angamos Oeste 160). From Tuesday to Sunday from 11:00 a.m. to 8:00 p.m. open to the public from March 17 to April 24.
Roberto Huarcaya: Anthological Exhibit 1990-2004
Roberto Huarcaya’s photographs distinguish themselves for exploring the psychological and social identity of Peru. His work has been dedicated to represent the life cycle in its different facets centering his attention on the fragility and uncertainty of existence. This exhibit gathers the work of 15 uninterrupted years in search of images that define and project memories, fears and fantasies that are the base of our personal and collective imagery. Germán Krüger Espantoso Gallery. Open to the public from October 15 to November 21 from Tuesday to Sunday from 11:00 a.m. to 8:00 p.m.
Enrique Polanco: Anthological Exhibit 1980-2004
Carlos Enrique Polanco is, after almost 25 years of artistic presence, one of the most outstanding and original in our environment. On his canvas, the urban scenery becomes an actor through a certain eclectic and excited look that shows us a ghostly and irrational Lima. Its old houses, streets, corners, stores and movie houses are transfigured together with their occupants by the expressionist use of the trace and color whose explosions have become the characteristic of his style, irreverent and sarcastic, but also penetrating in its social representation. For this exhibit, with Armando Williams as curator, the most important part of his extensive pictorial trajectory has been gathered. Germán Krüger E Gallery from Tuesday to Sunday from 11:00 a.m. to 8:00 p.m. open to the public from September 2 to October 10, 2004.
The Generation of the 80: Years of Violence
This exhibit is the fourth and last of the series “Generational Tensions”, that the ICPNA and Banco Sudamericano have jointly presented since the year 2000. On this occasion, the different currents practiced from 1979 to the following decades in which the figurative and the thematic related to the popular urban have been presented, as well as the “chicha" and other images brought by the “popular overflow”. It includes works of important groups such as Huayco EPS, Parentesis, Chaclacayo, Bestias, and of artists such as Charo Noriega, Armando Williams, Herbert Rodríguez, Eduardo Tokeshi, Johanna Hamann, Enrique Polanco, Roberto Huarcaya, Hermann Schwartz, among others. According to Alfonso Castrillón, curator of the exhibit: "Although marked by violence and horror, the eighties were years of honest sincerity and neared us to our social reality as never before, Therefore, the works presented here have not only reached a high esthetic level, but also the category of historical document”. As a complement a careful selection of sculptures has been included. These are from the treated generation and a character that left a deep scar in his times: el Cuy, of Juan Acevedo. German Krüger Espantoso Gallery from Tuesday to Sunday from 11 a.m. to 8 p.m. Open to the public May 6 to June 20.
Antonio Pareja: Retrospective (March 17 - April 25, 2004)
Few Peruvian sculptors have enjoyed such an exceptional cover as Antonio Pareja, who has established a delicate and emblematic line between the cultured and the popular, incorporating a personal sophistication in regional materials such as in Huamanga stone and recovering the traditional Andean imagery to produce very valuable pieces in marble, wood and metal. With almost two decades of intense activity, Pareja has fascinated and influenced his contemporaries with his work, integrating diverse private collections from which this exhibit has been mounted.
Regina Aprijaskis: 60 years of Painting
(January 14 - February 25, 2004)
Retrospective exhibit that makes it possible to know about the development of her captivating work, that goes from her entrance to the Fine Arts School as a student of Camilo Blas (who introduces her to the indigenous painting) and of José de Sabogal (with whom she begins to work with nudes, and whom she will later on replace as director of such center). Her artistic life also includes a long parenthesis (twenty seven years) that fortunately ends in1995; after which she returns as an initiator of the “minimalist” abstract tendency. The researcher and art critic Alfonso Castrillón, curator of this exhibit, has written: “she made an option, a formal poetic of great simplicity and plane Unitarian colors, full of vital vibrations that has been subtracting itself to an economy of limit, more demanding and purified each time.”
From Sanmarkos to Retablo Ayacuchano
(July 10 - August 31, 2003)
The exhibit illustrates, through different genre of Andean plastic (imagery, ceramics, painting and sculpture) the formal evolution of this emblematic piece of the traditional Peruvian art. This exhibit is presented as homage to the late ethnologist Emilio Mendizábal Losack (1922 - 1979), author of one of the fundamental studies on this subject. Precisely, the reedition of such publication, under the responsibility of the Instituto de Investigaciones Museológicas y Artísticas of the Ricardo Palma University, complement this exhibit that is articulated on some of his fundamental theories.
The Generation of 68: Between the Agony and the Feast of Modernity
(May 7 - June 22, 2003)
Continuing with a series of exhibits dedicated to different generations of Peruvian plastic of the XX century, this exhibit places us between the years 64 and 78, when most of the Peruvian artists took up a series of in vogue tendencies in the international panorama of plastic art: abstraction, surrealism, pop, kinetics, among others. Alfonso Castrillón is the curator of this series of exhibits, which started in the year 2000, thanks to the agreement established between Banco Sudamericano and the ICPNA. On this occasion works of Alberto Quintanilla, Carlos Revilla, Julia Navarrete, Venancio Shinki, Carlos González, Ella Krebs, Jesús Ruiz Durand, Bill Caro, José Tola, Alejandro de la Jara, among others are included. Castrillón states: "This exhibit suggests as a research that it will try to explain why the Peruvian artists prefer imported tendencies in a moment of radical changes and ideological restatements. Naturally the study goes beyond the chronological numbering of cases and pursues a theory that will explain whether it is right to talk about a Peruvian art or not.”
Luz Negib: Retrospective Exhibit 1963 - 2003
(March 19 - April 27, 2003)
Considered as an artist that has been able to renew herself and start new challenges throughout more than 40 years of trajectory, Luz Negib gathers in this exhibit a selection of works of the different stages through which her work has passed. Her series such as "Icaros" or "La familia Pérez", full of humor and irony, meant in each case an elaboration of her own language. Luz Negib studied Fine Arts at the PUCP and later received a scholarship from the British Council to continue with graduate studies at the State College of London University. She also received a study scholarship from the Italian government in 1963. She has presented exhibits in Uruguay, Chile, Argentina, the United States, England, Colombia, among others and their work has received distinctions from the PUCP, the Municipalidad de Miraflores, and the Encouraging Prize from the ICPNA in 1962.
Julia Navarrete: Teknoquímica 2002 Prize
(January 15 – February 23, 2003)
In recognition to her outstanding artistic trajectory, Julia Navarrete deserved this prize that has been awarded to the most representative artists of our environment. The artist studied painting at the PUCP with Adolfo Winternitz and Fernando de Szyszlo and later continued her studies, thanks to a scholarship, in France. Silvio De Ferrari, curator of the exhibit states: “Julia Navarrete has always shared her life with painting, that started in1964 in a workshop on Jirón Lampa, presenting that same year oil paintings of large format at the “Esso” and the “IV Painting Contest” of the Instituto Cultural Peruano-Norteamericano competitions. At her return from Europe, she settles in a new workshop elaborating drawings, oil paintings, inks and pastels, diptychs and triptychs that were exhibited in her first individual exhibit in the year 1974”.
Benjamín Moncloa: Retrospective Exhibit
(January 29 – February 23,2003)
This exhibit gathers works of the main periods of the production of this artist, considered as the pioneer of the geometric abstraction in Peru. Moncloa lived and worked in Paris with Jean Dewasne and in New York, where he participated in the Erotic Art Movement and started friendship with Marcel Duchamp. Since 1979 he resides in Lima where he kept away from galleries for some time. Jorge Bernuy comments on Moncloa’s work: “The erotic and the geometric was the period that united the two essential characteristics of Moncloa: in this period he reconciled his capacity to represent the mischievous and the pornographic, accompanied by obscene titles such as The Virgin before she lost her underwear, or Portrait of Vanesa Perez, obviously, her backside. Benjamín Moncloa doesn’t only try to make good painting; this artist has a greater ambition. He tries to make good art and for this reason he conjugates with the formal values of his work, satire, humor, knowledge, the absurd, the pornographic, symbols, stories, recognition, memories, criticism, reference, etc. Moncloa, without a doubt, has a lot to say to young artists, about esthetic freedom of expression”.
The Unfaithful Mirror
(November 14 – December 29, 2002)
Anthological exhibit of Anamaría McCarthy that summarizes her research on the human body. Portraits, compositions and painted bodies that are present in this exhibit that formed part of the Second Photographic Festival of Miraflores (MIRAFOTO). Silvio de Ferrari, curator, states: “The presence of Anamaría McCarthy in Peruvian photography can be seen as personal work, in her condition of woman who explores in images the testimonies of her life. Her work has been around the world in international competitions and exhibits and collectives, and through her proposals has involved us in moments of childhood, as in a nostalgia of a recovered memory”.
Cajamarca: One Century of Photography (1850-1950)
(November 14 – December 29, 2002)
Verónica Janssen as curator, and sponsored by Minera Yanacocha, Antares, arts and letters, there has been an important research on photography in Cajamarca. It gathers a historical archive, part of which was presented in this exhibit that was also included in the circuit of the Second Photography Festival of Miraflores. The curator assures: “If the history of photography in our country has inspired important works of research, there are still many aspects of its evolution to look into, especially in the provinces. This exhibit is a result of an effort to follow the steps of photography in one of the most important cities in our Northern Sierra, whose results, full of surprises, add a chapter to the development of a more integral vision of photography in Peru”.
From Abstractions, Informalities and Other Stories
(May 8 – June 23, 2002)
With this exhibit ICPNA and the Banco Sudamericano try to show to the public a period in the Peruvian art that goes from 1945 to 1964, when the “conversion” to the abstract and the inconspicuousness take place. We use the word abstract in the synthetic figure sense, action of representing some natural aspect in a schematic manner, yet still recognizable. On the other hand, the term inconspicuousness cover the artistic expressions also known under the name “abstract expressionism”, “action painting”, “lyric abstraction” “informalism” “deletion” and “geometric abstraction” and indicate the complete disappearance of the natural image. This exhibit is one more chapter of the series that started with “Generational Tensions” and continued with “The Independent”. In “From Abstractions…” we have tried to present the generational groups that start the abstract tendency with their first works, many of which have been forgotten by their authors, yet indicative of the first efforts to find a language, the chosen options, as well as those rejected. Through the primary works one may see the distance traveled and how the personality of the artist defines itself, strengthening or dispersing. More than 100 works of well known artists, such as Emilio Rodríguez Larraín, Fernando de Szyszlo, Joaquín Roca Rey, Jorge Eduardo Eielson, Eduardo Moll, Benjamín Moncloa, Milner Cajahuaringa, Arturo Kubotta, Juan Manuel Ugarte Eléspuru, Arturo Kubotta, among others, participate.
A Window to the Infinite: Shipibo-Conibo art
(July10 – September 1, 2002)
Exhibit of Shipibo-Conibo art with which a series dedicated to Popular Peruvian Art is initiated. ICPNA plans to develop these exhibits in successive years. This first great exhibit gathered pieces made of wood, ceramics and textiles in a space which has normally been dedicated to “cultured art”. The popular art has always been segregated and the one of our Jungle even more. Through this sample we try to contribute to its adequate appraisal. Carolyn Heath is the curator of this exhibit that has selected more than 300 contemporary and archeological pieces that come from 15 private collections and from specialized museums and institutions. The cultural Direction of ICPNA has counted with the counseling and support of Mary Solari, Jaime Liébana and John Alfredo Davis who have helped make this exhibit possible.
Emilio Rodríguez Larraín: Anthological Exhibit 1982-2002
(March 20 - April 28, 2002)
Luis Eduardo Wuffarden as curator, gathered a selection of the works of Emilio Rodríguez Larraín, made in the last 20 years that allowed the public and specialists to tour the different stadiums where his important work has transited. Formed as an architect, Rodríguez Larraín (1928) basically developed his work in Paris and New York having as a constant characteristic a renewed vocation. On the exhibit, our cultural Director Fernando Torres, states: "Classified as an Iconoclast, audacious and vanguardist, Rodríguez Larraín will always be worthy of superlative adjectives both for the intensity of his work as well as for his extraordinary personality. Critics and connoisseurs from three continents have coincided in the appreciation of his work and it is that starting from the renaissance concept that incorporates architecture, painting and sculpture in the formation of the artist, Rodríguez Larraín transmits through his work universal concepts of reflection and questioning”.
Alvaro Roca Rey: A Decade (1992-2002)
( April 4- April 28, 2002)
Architect, Alvaro Roca Rey has developed a fructiferous career as a sculptor researching the diverse possibilities of wood and metal. His pieces, a perfect balance of tensions, start off from an elaborate series of traces that the artist sketches on paper. This exhibit revises the last ten years of his work, representative selection of the most recent tendencies of his production. L. McEwans assures in an article published in "The Vancouver sun": "His art is characterized by a perfect sense of balance, that demonstrates a controlled energy and a constant tension. He works the steel with a sense of exactness. With the perfect understanding of its physical qualities and instead of destroying them or of disguising them – as others do – he respects them and highlights them. Summarizing: he works on steel as steel and is able to transform that aggressiveness into intense and elegant forms (…)”.
Judith Westphalen: Work on Paper
(July 5 – July 29, 2001)
Selection of work of the late artist Judith Westphalen, wife of the well known Peruvian poet Emilio Adolfo Westphalen and mother of the sculptor Westphalen. Judith Ortiz Reyes developed prolific work that was basically seen abroad. Fernando Torres, Cultural Director of ICPNA states in the presentation of the catalog: "This exhibit shows us a selection of diverse series of drawings that the artist made between the years 1972 and 1975 to her characteristic neatness the predominant style of the years of elaboration can be added as well as the inquisitiveness of Westphalen that moved her to oscillate between the almost minimalist creation and the images that summon a constructivist discourse in monochromatic tones of elegant conception. We consider that it was compulsory to carry out this exhibit as recognition to the trajectory of an artist of extraordinary sensitivity, who could not have found a better form of expression than through the images that she produced with such passionate dedication”.
Venancio Shinki: Retrospective (1960-2000)
(September 19 - November 4, 2001)
With Luis Eduardo Wuffarden as curator and as homage for his fructiferous trajectory, there was a retrospectice exhibit of Venancio Shinki, outstanding fine artist who has set a landmark in Peruvian painting. Shinki has been able to construct a refined pictorial language, whose resonance equally appeals our sense perception and our mythical or oneiric fantasy. His memorable iconographic repertoire would be enough to definitely place him among the emblematic well-known artist of Peru.
Baldomero Alejos Bautista (Ayacucho 1924-1976)
(November 15 - January 6, 2002)
This exhibit of the photographic archives of Baldomero Alejos was carried out as part of the First Photography Festival of Miraflores. (MIRAFOTO). Alejos was considered the best photographer of his times. Mayu Mohanna, researcher and graphic reporter, is the curator of this exhibit that had as a goal to make known an inedited archive of the Peruvian history of photography. The exhibit was complemented with testimonials from people who knew Alejos. The photographic archive Baldomero Alejos (1902, Huancavelica - 1976, Ayacucho) constitutes an authentic graphic testimony: 20 thousand images and 40 thousand carnet pictures that the photographer registered in Ayacucho during half a century from 1924 until 1976. It is a photographic compilation that has allowed us to start the reconstruction of the visual memory of a period of the history of Ayacucho.
The Independent, Distances and Antagonisms of Peruvian Fine Arts of the years 37 to 47
(May 30 - July 15, 2001)
The ICPNA and the Banco Sudamericano organized the first of four exhibits that will have as a curator the critic and art historian Alfonso Castrillón. This project was born from the concept of the exhibit "Tensiones Generacionales", (Generational Tensions) that took place last year, in which each one of the generations is sketched out. "Los Independientes" “The Independent includes 72 works of the members of a generation that opposed the ruling artistic tendencies at that time. The exhibit also includes works of the main representatives of indigenism: José Sabogal, Julia Codesido and Camilo Blas and with them are the artists that participated in the first hall “The Independent”: Francisco González Gamarra, Carlos Quízpez Asín, Ricardo Muro Grau, Macedonio de la Torre, Manuel Domingo Pantigoso, Teófilo Allaín, Bernardo Rivero, Juan Barreto, Francisco Olazo, Federico Reinoso, Arístides Vallejo, Sabino Springett, Víctor Martínez Málaga, Elena Izcue, César Calvo Araujo, among others.
Teknoquímica Prize - Gerardo Chávez
(April 5 - May 20, 2001)
Winner of the Teknoquímica 2000 Prize, Gerardo Chávez is an outstanding Peruvian artist that presented un "Ritmos de lo fantástico", “Rhythms of the Fantastic” a selection of his production, to receive this important award given by the Teknoquímica Foundation. Born in Trujillo in 1937, Chavez studied at the School of Fine Arts (Escuela Nacional de Bellas Artes) and later traveled to Europe where he met Roberto Matta, with whom he keeps a great friendship. His brother Angel was his first teacher. He presently alternates living in France and in Peru.
Ella Krebs: 1951 - 2001. Retrospective
(February 14 - March 25, 2001)
Fifty years dedicated to the plastic creation allow an artist to develop his own language and a retrospective exhibit makes this process known, mainly if the artist has set a landmark within the environment. The ICPNA presented a retrospective exhibit of the outstanding Peruvian plastic artist Ella Krebs, who throughout time has achieved a special kind of expression through the use of diverse materials and textures. The art critic Jorge Villacorta is the curator of this exhibit that tries to represent the different periods through which Krebs art has passed.
Jose Coronado: 30 Years
(September 7 - October 1, 2000)
Exhibit with which the water color painter Coronado celebrates 30 years of dedication to art with a selection of works that carry as a theme the city of Lima in its different periods.
Generational Tensions. An approach to the generations of the Peruvian plastic artists
(March 30 – May 14, 2000). Curator: Alonso Castrillón
Anthology in which the different movements that have influenced Peruvian art starting with the movements of the mid century have gathered the different movements that have influenced the Peruvian art starting from the mid twentieth century. In this way the exhibit covers the generations of 51 (or of abstraction), of 68 and of 79, in which the historical changes took place as well as the divergent esthetic proposals, such as the neovanguard, pop, indigenism and the postmodernism.
Decades of Peruvian Plastic
(September 12 - October 12, 1999).
Exhibit of the awarded works during the forty years of activity of the Institute in the different Halls established by the ICPNA: Painting, Sculpture, Engraving, Water color and Drawing.