Review PArC 2018

Review PArC 2018

For its sixth edition, PArC offers two novelties: Next, a section curated by Florencia Portocarrero, which consists of young galleries that represent emerging artists, and the Patio de Esculturas (Sculpture Garden) section, directed by Max Hernández, which brings installations and large-format pieces to the Museo de Arte Contemporáneo’s garden

Something well worth noting in PArC’s current edition is the presence of new platforms such as Tokio Galería (which is just a few days away from its anniversary), representing young artists such as Raura Oblitas, Álvaro Simmons and Luis Enrique Zela-Koort. All three artists propose sculptural pieces.
Alvaro Simmons, Tokio Galería, PArc 2018, courtesy Allison Valladolid - PArC 2018 Begins

Alvaro Simmons, Tokio Galería, PArc 2018, courtesy Allison Valladolid

Juan Luis Balarezo, who represents Crisis Galería (which has just turned one year old), confesses that art fairs are where new galleries build the largest part of their client base. Crisis’ booth includes visually diverse pieces, yet with the common idea of forcing the materials to their limits. Jimena Chávez proposes explorations of complex mixtures of materials, substances, and pigments, while Javier Bravo de Rueda presents a painting painted on a wall, without a canvas or stretcher bars.
Jimena Chávez, Galería Crisis, PArC 2018, courtesy Allison Valladolid - PArC 2018 Begins

Jimena Chávez, Galería Crisis, PArC 2018, courtesy Allison Valladolid

The presence of New York’s Y Gallery is also work highlighting, as it presents pieces by contemporary Peruvian artists such as Miguel Aguirre, Alberto Borea, Natalia Iguiñiz (with pieces that form part of her retrospective, which was on exhibition a month ago in the Peruvian capital), and Cecilia Jurado.
Natalia Iguiñiz, Y Gallery, PArC 2018, courtesy Allison Valladolid - PArC 2018 Begins

Natalia Iguiñiz, Y Gallery, PArC 2018, courtesy Allison Valladolid

In addition to this, they have an extra booth that has paintings by the young (and also Peruvian) artist Wynnie Mynerva. Meanwhile, Galería del Paseo, present at PArC for the sixth year in a row, presents the work of Uruguayan artists Ricardo Pascale and Marco Maggi, as well that of Peruvian artists Patricia Villanueva, Billy Hare, Alice Wagner and Claudia Coca (who presented a drawing that was withdrawn from the booth because it was sold just a few hours after the Fair was inaugurated).
Wynnie Mynerva, Y Gallery, PArC 2018, courtesy Allison Valladolid - PArC 2018 Begins

Wynnie Mynerva, Y Gallery, PArC 2018, courtesy Allison Valladolid

The Patio de Esculturas (Sculpture Garden) section is also worth highlighting. Curated Max Hernández, this section displays pieces by Miguel Andrade (Arróniz), Andrea Ferrero (Ginsberg Galería), Diego Lama (Galería Del Paseo), Kirsten Mocher (DM Colecciones) and Raura Oblitas (Tokio Galería). Andrea Ferrero, Raura Oblitas, Patio de esculturas, PArc 2018, courtesy Allison Valladolid - PArC 2018 Begins On the other hand, Lima’s oldest gallery, Forum (which is 43 years old) has participated in PArC since its first edition. This year, the gallery is presenting consecrated artists such as Tito Monzón, Eduardo Tokeshi, Moico Yaker and Bruno Zepilli. Nora Inguza de Quimper, a representative of La Galería, which also works with emerging and mid-career artists, comments that to them it is important to offer the exhibition space as all of the artists that they represent, which is why they work with an annual programming that rotates artists each year. “In this way, everyone has the possibility of showing their work,” Nora explains. The first piece to be sold at La Galeria’s booth is by Eduardo Moll, a renowned visual artist who passed away at the beginning of this year.
Fair view I, PArC 2018, courtesy Allison Valladolid - PArC 2018 Begins

Fair view I, PArC 2018, courtesy Allison Valladolid

According to Cyril Moumen, director Nosco gallery from Marsaille, change is always welcome. The gallery is participating in a Peruvian art fair for the fourth time, yet it is its first time at PArC. Its booth has work by Ibrahim Ahmed, Radu Oreian, Verónica Vázquez and two pieces by the Peruvian artist Alberto Casari. Moumen discovered Casari’s work at the São Paulo Biennial, during its 2011 edition. The gallery has represented the artist for the past 4 years. It has also worked with José Carlos Martinat, another Peruvian artist.
Fair view II, PArC 2018, courtesy Allison Valladolid - PArC 2018 Begins

Fair view II, PArC 2018, courtesy Allison Valladolid

Unlike Nosco, to São Paulo gallery Vermelho, this is the sixth consecutive year at PArC. Vermelho prefers to work with the Fair due to the contents that are exhibited in general, which come closer to the gallery’s style. They always try to bring artists that have already been presented at previous editions of the Fair, because they consider that a buyer is always waiting to see the evolution of an artist whose work he or she has purchased. Vermelho’s booth is currently exhibiting pieces by Iván Argote, Marilá Dardot, Tania Candiani, Dora Longo Bahia and Rosângela Rennó.
Galería Vermelho, PArC, 2018, courtesy Allison Valladolid - PArC 2018 Begins

Galería Vermelho, PArC, 2018, courtesy Allison Valladolid

More information at PArC 2018.
The Best of Lima’s Art Week

The Best of Lima’s Art Week

By Allison Valladolid

Just a few days before Lima’s week of art fairs kicks off, we recommend the exhibitions you can’t miss in the Peruvian capital

Media cajetilla de cigarrillos y una de fósforos by Miguel Aguirre at Museo Central (MUCEN)The Museo Central (MUCEN) presents Media cajetilla de cigarrillos y una de fósforos by Miguel Aguirre, winner of the 2016 edition of the National Painting Contest organized each year by Peru’s Banco Central de Reserva, considered to be one of the local scene’s most important and most prestigious contests for this discipline. This is MUCEN’s first individual contemporary art exhibition, a result of its objective of bringing this artistic current closer to the general public.
In this exhibition, we can appreciate how the artwork reflects a part of Peru’s economic history during the 80s, which had a dramatic impact both on the artist as well as on Peruvians in general. His works, of diverse formats and mediums, are the result of the use of diverse textual, graphic, and sound archives. Loaded with plenty of historical content, the piece opens a window through which younger generations and the general public may glimpse into this part of Peru’s history.

Dos cielos azules by Cecilia Jurado at the Instituto Cultural Peruano Norteamericano (ICPNA) in San Miguel – Through paintings, drawing, and ceramics, Cecilia Jurado speaks to us about the experience of migrating: about how we cease to feel the place that we inhabit as our own, and how our body demands that we search for other spaces where we can feel whole again.
Dos cielos azules narrates the story of millions of Peruvians who migrate from the countryside to the city every day, leaving behind their routines, their traditions, the landscapes that accompany them, their customs and their identities. The exhibition, in the artist’s poetic language, transits from one place to the other, evincing that sometimes, the change that we are forced to confront isn’t always the way we imagine it to be, and that the only option we have left is to survive.

Profecía es memoria by José Vera Matos and Imago Mundi by Adriana Bustos at 80m2 Livia Benavides – Everything revolves around a question: Where does mythology end, and where does history begin? In Profecía es Memoria, José Vera Matos presents mankind’s necessity for understanding the origins of history, of societies, and of the world that surrounds them.
The exhibition consists of drawings, a video piece, and two sculptures. For this exhibition, the Peruvian artist, who is known for using writing and his practice of transcribing books at a path for arriving at drawing, has drawn his inspiration from the text La conquista de América, by philosopher Tzvetan Todorov (1939-2017). On the other hand, Imago Mundi, Argentinean artist Adriana Bustos’ first individual exhibition in Lima, borrows its title from a set of twelve cosmographic treatises by geographer and theologian Pierre d’Ailly that oriented Columbus on his discovery voyage. The four canvases that make up this exhibition aim to create a fictional cartography based on experience, archive information, data from multiple sources, and both found and created images, thus allowing the artist to propose new associations and interpretations of the world.

Horror Vacui by David Zink Yi at Proyecto AMIL – Proyecto AMIL, a non-commercial platform for contemporary art, presents an individual exhibition by David Zink Yi, a Berlin-based Peruvian artist. The piece consists of a video installation with the same title, whose construction and architectonic intervention have taken up all of the space’s two main rooms. With a duration of two hours and seventeen minutes playing on two channels, Horror Vacui documents the rehearsals of De adentro y afuera, a Latin band that the artist himself co-founded in Cuba, combining these with images of religious rituals deeply rooted in Cuban culture. The piece, with its intensely performative force, allows the spectator to become an agent of reconciliation, unifying the fragments and intervals that produce an abstract image with neither space or time, while at the same time submerging them in the emotions stirred up by the music.
Zink Yi edited Horror Vacui during a residence at the Accademia Tedesca di Roma. The piece was first presented at Kunsthalle St. Gallen (San Galo, Switzerland, 2009), and then made its way through important contemporary art institutions, such as: Midway Contemporary Art (Minneapolis, EE.USA, 2011), Neuer Berliner Kunstverein- n.b.k (Berlin, Germany, 2012), ArtUnlimited (Basilea, Switzerland, 2013) and Prospect3 (Nueva Orleans, USA, 2014).

Museo by Juan Enrique Bedoya at the Museo de Arte de Lima (MALI) – A museum inside a museum. Museo brings together two sets of images that register diverse exhibition spaces. It is therefore a set of 179 images captured by Bedoya of exhibition spaces in Peru, USA, and Europe, between the beginning of the 90s and the year 2018. The exhibition also includes objects, such as some of the embalmed animals the artist was so passionate about, and old photographic cameras. Three tables of books are also part of the exhibition, where one can find titles such as The Origins of Museums, edited by Oliver Impey, or the memories of Joseph Duveen or Peggy Guggenheim.
The exhibition is also an attempt to understand the evolution and stages museums have had over time. Visitors may also check out Miró, la experiencia de mirar, which displays 50 works of art by the Spanish artist, as well as MALI’s permanent collection, which consists of over 17 thousand works of art narrating three thousand years of the history of Peruvian art, from pre-Columbian times to midway through the XX century.
An interview with PArC 2018 Lima project director Arístides Gonzáles-Vigil

An interview with PArC 2018 Lima project director Arístides Gonzáles-Vigil

By Eugenia Bertelè

PArC 2018 Project Director Arístides Gonzáles-Vigil: his vision of the international fair project in the Peruvian capital

Look Lateral’s travel in Peru goes on with the 6th edition of PArC 2018 (Peru Arte contemporáneo), produced by the Argentinian Diego Costa Peuser, director of Arte al Día magazine and of Fiere Pinta Miami and Buenos Aires Photo as well as organizer of the Gallery Weekend Buenos Aires.
Alvaro Simons, Galería Tokio, courtesy P.AR.C. 2018 - P.AR.C. Lima

Alvaro Simons, Galería Tokio, courtesy PArC 2018

The fair will run from 19th to 22nd April, inside the Museum of Contemporary Art in Barranco, Lima.
Aristides Gonzales-Vigil, Project Director, courtesy P.AR.C. 2018 - P.AR.C. Lima

Aristides Gonzales-Vigil, Project Director, courtesy PArC 2018

This year’s edition hosts 27 galleries from 10 countries. New sections have been added to the MAIN one, like: Next, a selection of avant-garde projects by the Peruvian Florencia Portocarrero; Patio de Esculturas, site-specific and large-scale artworks for the outdoors and the museum garden by Max Hernández Calvo; Solo Project by the Ecuadorian Manuela Moscoso, challenging four Latin American artists to launch a dialogue on contemporaneity, “The future is the present”; Proyecto Tijuana, an international fair for independent publishing houses and author books established in San Pablo in 2009.
Tijuana Lima 2017, courtesy P.AR.C. 2017 - P.AR.C. Lima

Tijuana Lima 2017, courtesy PArC 2017

PArC 2018 distinguishes itself for the quality of the conversation program managed by Miguel López – Peruvian writer, researcher and curator – with a focus on the relationship between the Caribbean area and Latin America and the influence of public institutions and museums in local culture. Many expert will take part in the conversation with interesting talks, such as Tobías Ostrander, curator of Pérez Art Museum in Miami (PAMM), Gabriela Rangel, art director and chief curator of the American Society and Ella Fontanals-Cisneros, founder of the CIFO Foundation.
Revolver, Lima, courtesy P.AR.C. 2017 - P.AR.C. Lima

Revolver, Lima, courtesy PArC 2017

We interviewed Arístides Gonzáles-Vigil, PArC 2018’s young project director, about the Peruvian collecting art scene and how this platform really helps spreading Latin American art all over the world. And not only…
Zipper galería, Sao Paulo, courtesy P.AR.C. 2017 - P.AR.C. Lima

Zipper galería, Sao Paulo, courtesy PArC 2017

LL: Who are the artists you would recommend in this PArC’s edition?

AGV: Undoubtedly “Next”, the section dedicated to young artists. Florencia Portocarrero curated it. She’s a very competent investigator and managed to join 6 projects blending experimentation, innovation and research. I can easily say that this section is like a window on the current status of Latin America. The artworks by Santiago Gasquet, Jimena Chávez, Leonel Castañeda, Leonardo Nieves, in example, are direct reflection of present times. Furthermore, a P.AR.C.’s classic is the Solo Project displaying artworks by Ignacio Gatica, Marcelo Pacheco, Andrés Pereira Paz and Mariela Scafati. Finally, the Main section with established galleries doubling PArC’s gamble in Peru. Here, you can stare at the artworks of Cristina Piffer of ROLF ART (Buenos Aires), Alejandro Botubol at Spanish Ponce+ Robles, Miguel Aguirre at Peruvian Del Paeso and Rossangela Renno at Vermelho Gallery (San Paolo).
Luisi Llosa, de la serie Fragilidades, 2015, Galería BETA, courtesy P.AR.C. 2018 - P.AR.C. Lima

Luisi Llosa, de la serie Fragilidades, 2015, Galería BETA, courtesy PArC 2018

LL: Tell us three masterpieces we can’t absolutely miss.

AGV: I suggest you great Chilean photographer Paz Errázuriz at Spanish gallery Espacio Minimo, Luisi Llosa cracked concrete artworks at Colombian gallery BETA. And Dolores Casares, represented by Argentinian gallery Quadro. Classic Argentinian art will be exhibited together with Rogelio Polesello’s meaningful artworks at Del Infinito. At last, I’d like to signal the huge Henrique Faria’s booth with artworks of the Peruvian artists Rafael Hastings, Coco Bedoya, Regina Aprijaskis, and others.
Leonor Castañeda, detail, Espacio El Dorado, courtesy P.AR.C. 2018 - P.AR.C. Lima

Leonor Castañeda, detail, Espacio El Dorado, courtesy PArC 2018

LL: What’s the price range of the artworks? And what’s PArC’s outlook in terms of local and foreign collectors?

AGV: Lima still has a conservative attitude towards the local collectors’ investment in contemporary artworks. But year after year, this prudence has been lowering. The audience is more and more aware – not only established collectors, but also “new beginners”. PArC offers a far-reaching free educational program coordinated by Miguel López, representing an accessible formula for everyone to get connected with art. Price ranks start from 500USD.
Leonor Castañeda, Espacio El Dorado, courtesy P.AR.C. 2018 - P.AR.C. Lima

Leonor Castañeda, Espacio El Dorado, courtesy PArC 2018

LL: How many collectors are taking part in the VIP program and where do they come from?

AGV: Our VIP staff works in all countries we organize fairs, constantly cooperating with the continental collectors. This year we expect about a hundred European, American and Latin American guests.

LL: Could you please mention the most considerable projects that will inaugurate the Patio de Esculturas section by Max Hernández Calvo?

AGV: I’m honoured to work with Max because he’s a very patient person and he’s able to translate his intellect in his projects. For the Patio de Esculturas we count on Raura Oblitas’ artwork, represented by Galería Tokio, on Diego Lama’s artwork (Del Paseo gallery), on Andrea Ferrero’s great installation (Ginsberg gallery) and on a project they commissioned to American gallery Kirsten Mosher especially for the fair.

LL: How is PArC – Perú Arte Contemporáneo – positively affecting the country developmente? What’s the fair’s most significant outcome, if compared to 2013’s first opening?
Horacio Zabala, Galería Henrique Faria, courtesy P.AR.C. 2018 - P.AR.C. Lima

Horacio Zabala, Galería Henrique Faria, courtesy PArC 2018

AGV: I’m so proud of this project dating back to even before my direction. Diego Costa Peuser has been working for almost 40 years at the creation of platforms focused on the internationalization of Latin American art worldwide. PArC’s aim is to launch a platform linking public and private sector to help both Peruvian artists and gallerists to position themselves strategically. Several institutions are supporting us (Prom Perù, the Ministry of Culture and big private supporters like Empresas Paraíso, Jet Blue, Roche Bobois Paris, DHL, Chandon, and many others.) Furthermore, during this edition the Next-Paraíso Award will occurr, as well as the Pinta Miami Award and the editorial award for the Tijuana project. There’s a lot to do, but we are upbeat about the outcomes.
Ignacio Gatica, Galería Die Ecke, courtesy P.AR.C. 2018 - P.AR.C. Lima

Ignacio Gatica, Galería Die Ecke, courtesy PArC 2018

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