natalia revilla portfolio

Transcripción

1 natalia revilla portfolio av. sáenz peña 129, barranco telefax

2 natalia revilla 1981 / Lima, Perú Through her work, Natalia Revilla captures the personal and collective fracture that involves facing violent transformations. The destruction of common areas made, whether by human intervention, depletion of natural resources, or explosions of social violence, are part of a collective and personal crisis. Her drawing s strength lies on portraying heart-breaking scenes (from photographic documents) at where the absentee is subtly revealed. In her last show Lo invisible es un lugar, she turns her gaze to the place, to the territory holder of an almost magical evocative power and of symbolic transference of the distant. Through these works we presence the fracture that involves facing the violent transformation of places and landscapes that were the scene of significant experiences. But given the irremediable alteration of the spaces of our memories, it is touching, even tragic, to realize that memory cling to these places, leaving from subtle to violent traces on the human psyche. Her series Dias grises the artist provokes a complicity and uncertainty in the viewer with images of disrupted bodies inertly lying in sublime sceneries. In Quemados, what underlies in our collective memory is recovered through the emptiness that the fire s trace leaves on paper.

3 tener voz nítida

4 The articulation of language and its expression through speech has, in addition to its meaning, an almost abstract phonetic form, open to a wide interpretation. Revilla, makes a selection of three Machiguengas words that refer to sound, to think about the possibility of relating translation and meaning; The sensitive side of the sound image as a metaphor that explores the transitions of that which has no seemingly perceptible physical form.

5 detail, side view Puonkaenkatagantsi. Tener una voz nítida. Acrylic plate polymethylmethacrylate 80 x 80 cm 2017

6 Pirantakotagantsi.Cantar sobre alguien empleando palabras alusivas Acrylic plate polymethylmethacrylate 120 X 40 cm 2017

7 Poimameshinatagantsi.Tener buen sonido Acrylic plate polymethylmethacrylate 110 x 50 cm 2017

8 veinte palabras

9 veinte palabras The universes of life of every community have found their particular order in language. With words, every culture has held on to their memories and spread its stories through the world. From the most fleeting particular experience to the daily murmur of the river, a constellation of meaningful moments is condensed into them, giving us a sense of who we are. Each language weaves the history of its people in a tissue of inherited experiences gathered by generations in their oral and written traditions. The word, as the first link in this chain is a human instrument that takes part in the process of every creation. Each language evidences the presence of a community spirit, a reflection of a particular way of living in the world. We see that all universality is limited by the peculiarity of the testimony and even the most urgent will of communication can be disrupted by ambiguities such as those arising from the encounter between different languages. Where we find the possibility to avoid misunderstandings, new words emerge to express what for us would be almost a proverb, dissolving this way any possibility of reference to the world of our spoken experience. Still, the inability to find an accurate equivalence does not dismiss the wisdom that we find in those words, something that Walter Benjamin called the epic side of truth, and is found in the eloquence of their narrative expressiveness. That is the question to which Natalia Revilla s images confront us with. Arising from the encounter of an Matsiguenga- Castilian dictionary, these words are presented without admitting parity in ours, and from that impossibility they speak of a complex quality of communication that is also depicted in the pieces. Here, the word is torn between solving the trap of equivalence and the narrative breadth of the symbolic world that originated them in their imaginary of death, nature and people. Gabriela Manrique

10 Exhibition view

11 Apipakótene (The other hand) drawing and hand embossing on paper 56 x 38 cm 2016 Tishitapákontsi (The back of the hand / Sarantapakontsi. The palm of the hand) drawing and hand embossing on paper 56 x 38 cm 2016

12 detail Kitatagantsi (Be within the earth) drawing and hand embossing on paper 152 x 56 cm 2016

13 works

14 Untitled laser cut on paper 96 x 65 cm 2016

15 Estructuras hand embossing on paper 56 x 155 cm 2016

16 Untitled I, II, III, IV Cuts on pages of books on shoellershammer paper 23 x 20 cm 2015

17 detail

18 detail Untitled cuts on pages of books on shoellershammer paper 23 x 20 cm 2015

19 lo invisible es un lugar

20 río negro installation of laser cut black acrylic plates variable dimensions 2013 In lo invisible es un lugar (invisible is a place), the artist turns her gaze to the commonplace, to the territory holder of an almost magical evocative power and of symbolic transfer of the distant, nearly forgotten. Vacuum becomes the main character speaking to us by its absence, able to restore in our memories the crucial circumstances and events of the past; a key element for setting stories that tell us about our collective history and own identity.

21 Untitled laser cut paper 125 x 300 cm 2013

22 Untitled mixed media on canvas 80 x 120 cm 2013

23 Untitled mixed media on canvas 80 x 105cm 2013

24 Untitled mixed media on canvas 80 x 105cm 2013

25 work 2013

26 Untitled laser cut lenticular sheet ) 37 x 32 cm 2) 44 x 76 cm 3) 49 x 67 cm 4) 39 x 28 cm

27 lejos de aquí, aquí mismo

28 Untitled laser cut mdf and black latex paint 110 x 165 cm 2012

29 Untitled laser cut paper 80 x 60 cm each 2012

30 quemados

31 Untitled from the series Quemados mixed media on paper 30 x 29 cm 2011

32 Untitled from quemados mixed media on paper 35 x x x 20 cm 30 x x x 32 cm 2011

33 Untitled from quemados mixed media on paper 80 x 80 cm 2011 Untitled [polyptych], from Quemados, mixed media on paper 32 x 35 cm 2011

34 work 2011

35 Untiteld serie mixed media on canvas 60 x x 45 cm 55 x x 45 cm 2011

36 Outgraphy exhibition view Galería Pabellón Argentina

37 días grises

38 Untitled, from Dias Grises mixed media on canvas 133 x 200 cm 2010

39 Untitled, from Dias Grises mixed media on canvas 133 x 209 cm 2010

40 Untitled, from Dias Grises mixed media on canvas 133 x 211 cm 2010

41 natalia revilla *1981 / Lima, Perú STUDIES Pontificia Universidad Católica del Perú. School of Arts. Degree in painting. Encuentro de Gestiones Autónomas (Congress of Autonomus Managment). Encuentro Nacional de Gestores Culturales (National Congress of Cultural Managment).Córdoba, Argentina. Seminary Semiotica y Retorica de lo Visible (Semiotics and Rhetorics of the Visible), lecture by Jean-Marie Klinkenberg. Universidad de Lima. Seminary Realización De Proyectos De Arte Contemporáneo (Development of Contemporary Art Projects). SOLO EXHIBITIONS 2016 Veinte palabras. Wu Galeria. Lima, Perú Lo invisible es un lugar, Wu Gallery, Lima. Perú 2011 Outgraphy. Pabellón 4 Gallery. Buenos Aires 2010 Días grises. Vértice Gallery. Lima 2007 Atlas de anatomias comparadas. Bipersonal. Vértice Galery. Lima GROUP EXIBITIONS 2017 Atravesar una línea. Cuatro proyectos. Wu Galería, Lima, Perú. Trazos cortados. Poesía y rebeldía de Magda Portal. Casa de la Literatura Peruana. Lima 2014 No View, Wu Galeria, Lima, Peru 2012 La tiranía de la intimidad. Centro Cultural de España. Lima, Perú El placer es más importante que la victoria. Tasneem Gallery. Barcelona. Curated by Miguel López. Pura Herida. La Culpable. Curated by Jimena Brescia and Rodrigo Quijano. Chaco. 3rd Edition. Contemporary Art Fair. Santiago de Chile. Transition. The Mission Gallery. Chicago. Swab. International Contemporary Art Fair. Barcelona. ArteBa. 20th Edition. Art Fair at Buenos Aires. Argentina. Miradas sin Coordenadas. 80m2 Gallery. art & debates. Lima. Curated by Jorge Vilacorta.

42 2010 Salirse, insistir. Genaro Pérez Museum. Córdoba, Argentina. Curated by Lucas di Pascuale. Scoope. Contemporary Art Fair. Miami. Chaco. 2nd Edition. Contemporary Art Fair. Santiago de Chile. Las imágenes no cambian, pero sí los ojos que las ven. Project El Vidrio. Espacio Documenta, Córdoba, Argentina Second Fair of Young Art at Sala Cero. Animal Gallery. Chile. Inverosímil. Vértice Gallery. Curated by Catalina Mena. Lima, Perú. Dibujo: nuevas propuestas. 80m2 Gallery arts & debates. Lima, Perú. Coser + dibujar + colorear. Qorikancha Gallery. Cusco, Perú La Generación del Espectáculo: Arte Peruano Contemporáneo. Kiosko Gallery. Curated by Miguel Zegarra. Santa Cruz, Bolivia. Re-genero. Centro Cultural España. Curated by Paloma García and Pilar Talavera Museo De Arte Contemporáneo, Arequipa, Perú El Muro. Praxis Gallery. XV Concurso Nacional De Artistas Jóvenes. Centro Cultural España. Lima, Perú. VIII Concurso Pasaporte Para Un Artista. Centro Cultural Pucp. Lima, Perú. Arte Joven En Miraflores. Miro-Quesada Garland Gallery. Lima, Perú. Aproximaciones A Lo Cotidiano. Enlace Gallery. Lima, Perú. Rehuso Al Desuso. Punctum Gallery. PUBLICATIONS Miguel López and Sharon Lerner, El placer es mas importante que la victoria, Tasneem Gallery, Barcelona, 2011 Augusto Chimpen, Natalia Revilla, Art Nexus, Agosto, 2010 Gonzalo Galarza, El Peso de la Violencia, El Comercio, Lima, Perú, April, 2010 Línea y cuerpo, dibujos de artistas peruanos contemporáneos. Felipe Mayuri - Iván Fernández editors, Lima, 2010 Sybille Castelain, El Cuerpo: Su identidad, Artmotiv, Lima, 2008 Marianne Blanco, Discursos en Torno a la Feminidad, El Comercio, Lima, Perú, Junio, 2008 Sombra Madre, Caretas, Junio, 2008 Carlos Sotomayor. Diálogo creativo. Expreso. Lima, Perú, October, 2008 Miguel Zegarra, Atlas de Anatomías Comparadas, Anuario Galería Vértice, Lima, 2007 Miguel Zegarra, Profile: Lima: Vertice Galería de arte, Contemporary Magazine, Annual 2007, Londres