{"id":40525,"date":"2023-04-23T22:41:17","date_gmt":"2023-04-23T22:41:17","guid":{"rendered":"https:\/\/galerialeme.com\/?post_type=artist_text&p=40525"},"modified":"2024-07-02T21:06:47","modified_gmt":"2024-07-02T21:06:47","slug":"yale-daily-news-31-marco-2009","status":"publish","type":"artist_text","link":"https:\/\/galerialeme.com\/en\/artist_text\/yale-daily-news-31-marco-2009\/","title":{"rendered":"Yale Daily News – 31 Mar\u00e7o 2009"},"content":{"rendered":"

Peru art, revisited \u2014 but not at Yale<\/strong>
\nBy Paul Needham<\/strong><\/p>\n

NEW YORK \u2014 In the fall of 2007, when it seemed certain that Yale andPeru would reach an amicable agreement over the ownership of Incaartifacts housed at the Peabody Museum of Natural History, it alsoseemed certain that a museum would be built in Peru to house thehigh-quality pieces the University was willing to send back.<\/p>\n

Now, as the parties begin to wage a legal battle that could involveyears of filing motions and rebuttals, it is unlikely that such amuseum will open in time for the 2011 centennial anniversary of Yaleexplorer Hiram Bingham III\u2019s expedition to Machu Picchu. But onePeruvian artist is in no mood to wait for a resolution to the nearlycentury-long dispute.<\/p>\n

Instead, Sandra Gamarra installed work here in New York earlier thismonth in what she calls a \u201cfictitious museum.\u201d Gamarra\u2019s museum doesnot display the artifacts themselves, but rather paintings of picturesof the artifacts that she found in a 2004 exhibition catalog from Yale,\u201cMachu Picchu: Unveiling the Mystery of the Incas.\u201d<\/p>\n

The installation, called \u201cThe Second Room of the Rescue,\u201d includes morethan 100 small paintings of the artifacts, displayed as a house ofcards.<\/p>\n

\u201cThe house of cards is a direct reference to the state of the Peru-Yalecase,\u201d she said by phone from her studio in Spain. \u201cIt\u2019s a veryunstable situation and at the same time it\u2019s gone on so long thatthere\u2019s a kind of equilibrium. That\u2019s the idea of a house of cards.\u201d<\/p>\n

While Gamarra said in the interview that she hopes the Inca artifactswill be returned to Peru, her art is not explicitly concerned with thefate of the artifacts. Rather, she said she hopes it is seen as acomment on the changing meanings of art.<\/p>\n

One aspect of art that Gamarra dwells on is the commercial mechanismsof museums. Her installation includes painted mugs and a poster, meantto mimic the offerings of a gift shop.<\/p>\n

Richard Burger, the Yale archaeologist who edited the catalog on whichGamarra based her paintings, said he was unaware of the artist\u2019s work.But he added that the appropriation of the artifacts onto anothermedium was an \u201cinteresting twist\u201d to the complicated history of Yaleand Peru.<\/p>\n

Gamarra\u2019s installation was on display at the Volta fair, an event thatshowcases solo projects. Some of her other work is in the collection ofthe Museum of Modern Art in New York.<\/p>\n

For now, the work that was on display in New York remains in the UnitedStates, albeit not on view. Gamarra said the installation may be shownagain, and that one American university \u2014 not Yale \u2014 has expressedinterest in purchasing the work.<\/p>\n

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