Peruvian Pavilion, Mexico at 60th Venice Biennale of Art

The Peruvian Pavilion, Mexico at the Venice Biennale 2024: the artists of the pavilion, the works, the times, the periods, the cost of the tickets and the exhibition venue.

April 20th to November 26th 2024

The 60th Biennale Arte will open to the public on April 20. But on the 17th, 18th and 19th there will be the various events and collateral events that always enliven suddenly Venetian artistic life. The awards ceremony will take place the day of opening to the public.

The title of the 60th edition of the Art Biennale is Foreigners Everywhere - Foreigners Everywhere.

The exhibition will be divided into between the Central Pavilion in the Giardini and the Arsenale, including 213 artists from 88 nations. There are 26 Italian artists, 180 first participations in the International Exhibition, 1433 works and objects on display, 80 new productions.

Go to the page of the 60th Venice Art Biennale

Curator of the 60th Venice Art Biennale

The 2024 edition is curated by Adriano Pedrosa.

Adriano Pedrosa, curator of the 60th Venice Art Biennale

– Adriano Pedrosa (born 1965) is a Brazilian curator. He is the artistic director of the São Paulo Art Museum (MASP) and the 2024 Venice Biennale.

Go to the page of the 60th Venice Art Biennale

Peruvian Pavilion, Mexico at 60th Biennale Arte of Venice

Press Release of Peruvian Pavilion

At the Peruvian Pavilion, the project chosen to represent the essence of the country is Huellas Cósmicas, by the renowned artist Roberto Huarcaya (1959 | Lima, Peru), curated by Alejandro León Cannock (1980 | Lima, Peru). The exhibition benefited from the curatorial expertise brought by Joan Fontcuberta (1955 | Barcelona, ​​Spain), Andrea Jösch (1973 | Santiago, Chile) and Amanda Antunes (1986 | São Paulo, Brazil).

The exhibition presents an installation that harmoniously unites a collection of exceptional works: a monumental frame meticulously conceived by artist Roberto Huarcaya in the heart of the Amazon rainforest – specifically, Bahuaja Sonene National Park, located in the Tambopata rainforest, in Peru. Against this lush backdrop, Huarcaya unrolled a 30-meter roll of photosensitive paper under a palm tree during a storm, allowing lightning to leave its imprint on the paper overnight. This frame was developed and fixed on site, in a darkroom set up in the middle of the jungle, using water from nearby rivers. Remarkably, the remaining liquids from the development process were transported back to Lima, ensuring their environmentally responsible disposal. A sculpture of a canoe by the talented artist Antonio Pareja (1945 | Ayacucho, Peru) and a piano composition by Mariano Zuzunaga (1953 | Lima, Peru) complete this visual masterpiece.

The proposal emerges at the intersection of photography, installation and land art, challenging our approach to re(presenting) the environment. It serves as an immersive and fleeting ritual sanctuary, designed to awaken consciousness, ignite the imagination and inspire meditation. Consequently, it encourages visitors to reconsider their surroundings from a sensory and non-instrumental point of view.

OFFICIAL TEXT OF THE CATALOGUE

Cosmic Traces – Alejandro León Cannock
For more than a decade, photographer Roberto Huarcaya has wandered around Peru, creating monumental frames that – intersecting with photography, installation and land art – pose questions about our way of re(presenting) and understanding ourselves. environment.
Both the frames (large format, the singularity, the abstraction, the material) and the production process (experimental, immersive, heuristic, unrushed) demonstrate a creative method that consciously works against what Flusser describes as the apparatus's agenda photographic.

Huarcaya's work runs against the project of extraction of Western modernity, which encourages the use of "advanced" technologies (such as Artificial Intelligence) to use images (and their observers) as a means to its own end: knowing , control, exploit and consume the world. Huarcaya, on the contrary, claims a force, one that recognizes a time/space idiosyncrasy, admits that matter resists and accepts experience as irreducible.

He operates as a medium, embracing, in Rosa's words, the unavailability of the world, combining heterogeneous elements (light, dust, water, plants, insects) on a photosensitive surface so as to elicit traces (images). This method - which generates an organic (Deleuze would say, rhizomatic) relationship of forces between materials, circumstances, the artist and his collaborators - expresses a humble awareness of existence as uncertain (unknown). Huarcaya's critical-creative position questions the power that modern humanity has claimed over the world, restoring to the cosmos the action that was denied to it by Western culture (defined, in agreement with Descola, by a naturalistic ontology, and for Honneth, from a politics of reification).

Through the assemblage of the works (the frame of a tree, a sculpture of a canoe and a piano composition), and the structural and environmental elements of the pavilion, the Huellas Cósmicas installation, conceived especially for the 2024 Art Biennale, places the spectators in an experiential and indeterminate space/time, challenging their careful habits (perceptual, emotional and cognitive), usually adapted to the imperatives of the neoliberal system.

Rather than a representative proposal (it does not talk about this or that), the work is performative: its presence creates an immersive and transitive event. It transforms the space into a ritual refuge to stimulate awareness, fuel the imagination and encourage

Roberto Huarcaya (1959 | Lima, Peru)

Huarcaya founded the Centro de la Imagen (Peru) and was its director from 1999 to 2022. His work has been exhibited in various solo exhibitions and is part of some collections such as the Maison Européenne de la Photographie (France), Fine Arts Museum, MOLAA – Museum of Latin American Art, CoCA – Center on Contemporary Art and Lehigh University Art Collection (USA), MALI – Lima Museum of Art (Peru). He co-edited the magazine Centro de la Imagen, CDI, as as well as the Latin American photography magazine Sueño de la Razón. He was co-director at the photo gallery fair Lima Photo (Peru). In 2012 and 2014 he co-directed the Lima Photographic Biennial.

Useful information for the visit

Hours: Gardens from 10.00 to 19.00. Arsenale from 10.00 to 19.00 (from 10.00 to 20.00 on Friday and Saturday until September 30th). Closed on Mondays (except May 13, September 2, November 18).
Tickets: please visit the official website.
Phone: +39.041.5218711; fax +39.041.5218704
E-mail: [email protected]
Web: Biennale of Venice