Galeria Leme presents the exhibition\u00a0En v\u00edas de desarrollo, solo show by Sandra Gamarra. The Peruvian artist is presenting never before seen pieces in Brazil. Opening on November 23, the exhibition remains on display until January 21, 2023.<\/p>\r\n
In her body of works, as do the pieces ones in this exhibition, Gamarra presents a critical perspective of colonial relationships and imagery that still persists in contemporary times. The three series that make up this show explore the different conceptions of the world that coexist in the Americas.<\/p>\r\n\r\n
\u201cIn the so-called developing countries, there it seems to coexist two ideas of the Earth: one that understands it as a subject with rights and the other that understands it as an object through which humans get rights\u201d<\/em>, comments the artist.<\/p>"],"_content_0_texto":["field_6448479f05101"],"content_1_obra":["a:9:{i:0;s:5:\"44703\";i:1;s:5:\"44707\";i:2;s:5:\"44706\";i:3;s:5:\"44708\";i:4;s:5:\"44709\";i:5;s:5:\"44710\";i:6;s:5:\"44712\";i:7;s:5:\"44711\";i:8;s:5:\"44713\";}"],"_content_1_obra":["field_64486180449f5"],"content_2_obra":["a:1:{i:0;s:5:\"44714\";}"],"_content_2_obra":["field_6448473c050fe"],"content_3_texto":[" The series\u00a0En vias de desarrollo, that titles the exhibition, consists of 10 reinterpretations of Albert Eckhout\u2019s pieces. On them, the portraits and still life are painted with iron oxide giving earthy tones to the composition. Some details, such as the feet and hands of the human figures are done with oil paint suggesting they are unfinished works.<\/p>\r\n\r\n Albert Eckhout was an important Dutch painter, who remained in Brazil for seven years, during the Dutch occupation in the 16 century. In service of the Count Maur\u00edcio de Nassau, Eckhout documented the \u201cNew World\u201d through drawings and paintings. His works were considered for a long time official documents, as faithful representations of Brazilian reality.<\/p>\r\n\r\n It\u2019s this documental attribute that Gamarra stresses in her reinterpretations. When the artist applies different treatments to the painting \u2013 sometimes details in oil paint, others red stains \u2013 the artist withdraws the veracity once granted to them and puts them in question. The artist\u2019s gesture denounces development and progress as narratives, social constructions that hide conceptions of the world when presented as synonymous with the truth.<\/p>"],"_content_3_texto":["field_6448479f05101"],"content_4_obra":["a:5:{i:0;s:5:\"44715\";i:1;s:5:\"44716\";i:2;s:5:\"44717\";i:3;s:5:\"44718\";i:4;s:5:\"44719\";}"],"_content_4_obra":["field_6448473c050fe"],"content_5_texto":[" In\u00a0Cuando las papas queman [When the potatoes burn], Gamarra paints potatoes over reproductions of drawings of the work\u00a0Primera Nueva Cr\u00f3nica y Buen Gobierno [First New Chronicle and Good Government], written by indigenous and peruvian Felipe Guam\u00e1n Poma de Ayala, in the beginning of 16 century. Both elements used by the artist comment on the relationship between Peru and Spain. In the work by Ayala, the writer contemplates ancient Andean history, the rise of the Incan Empire, the Spanish invasion and the beginning of the colonial period through an indigenous perspective. The publication was dedicated to king Filipe III in order to bring better living conditions to the population by narrating the violence committed by the crown. Potatoes had already become a symbol of cultural exchange between Spain and Peru after the colonization.<\/p>\r\n\r\n It\u2019s possible to find more than 4.000 species of potatoes in Peru, that vary in colors, shape and nutrients, according to the region and period in which they are cultivated. This diversity is the result of the age-old wisdom of Andean people in the cultivation of the food. So, the portrait of a variety of potatoes by Gamarra, seems to be an allegory of Andean wisdom and not of the cultural exchange anymore, while Ayala\u2019s drawings refute a friendly cultural exchange between Spain and Peru, as some want to naturalize nowadays.<\/p>"],"_content_5_texto":["field_6448479f05101"],"content_6_obra":["a:1:{i:0;s:5:\"44720\";}"],"_content_6_obra":["field_6448473c050fe"],"content_7_texto":[" Gradaci\u00f3n [Gradation]\u00a0is a series of ponchos stretched out on a chassis as if they were paintings. The chromatic variation creates a gradation from the beige to the black passing through brown and red tones that resemble human skin color and different kinds of soil.<\/p>\r\n\r\n \u201cThey show that ponchos came from the plantation, the cavity where we put the head is a reference to the hole made in the ground to plant the seed. The tear in the center of the canvas also reminds one of a modernist piece, such as those by Lucio Fontana. The same gesture alludes to two opposite ideas: one appeals to the earth\u2019s cycles and to ancestral wisdom, and other to the new, our eternal aspiration for a beginning\u201d<\/em>, comments Gamarra.<\/p>\r\nAbout the artist<\/strong>\r\nLima, Peru, 1972. Lives and works in Madrid, Spain.\r\n\r\n Sandra Gamarra is the creator of the fictional Lima Museum of Contemporary Art (2002), which is an imaginary collection of paintings with accompanying merchandise based on her hand-painted reproductions of works by her contemporaries. Gamarra\u2019s method of appropriation raises questions about issues of authenticity and the status of replicas. Indeed, a significant part of Gamarra\u2019s work focuses on the mechanisms of the art world, including the art market, exhibitions and creative processes, to explore its reality and workings. In her work, Gamarra has explored the socio-political consequences of what she considers an incomplete modernity in South America.<\/p>\r\n\r\n Solo exhibitions<\/strong>: Buen Gobierno, CGAC Santiago de Compostela, Coru\u00f1a, Spain; Orden de los Factores, Museo Amparo, Mexico (2022); Producci\u00f3n\/Reproducci\u00f3n. MALI, Lima, Peru; Buen Gobierno, Sala Alcal\u00e1, Madrid, Spain (2021); Rojo Indio, Galer\u00eda Juana de Aizpuru, Madrid, Spain (2018); Paisagem entre aspas, Galeria Leme, S\u00e3o Paulo, Brazil (2017); Instituto Figueiredo Ferraz, Ribeir\u00e3o Preto, Brazil (2016), At the Same Time, Bass Museum of Art, Miami, USA (2011), among others.<\/p>\r\n\r\n Group exhibitions<\/strong>: Hist\u00f3rias Brasileiras, MASP, S\u00e3o Paulo, Brazil (2022); 11th Berlin Biennale, Berlin, Germany (2020); H\u00e1 sempre um copo de mar para um homem navegar, 29\u00aa Bienal Internacional de S\u00e3o Paulo, Funda\u00e7\u00e3o Bienal, S\u00e3o Paulo, Brazil (2010); Mundus Novus, Pavilh\u00e3o da IILA, 53\u00aa Biennale di Venezia, Venice, Italy (2009), among others.<\/p>\r\n\r\n Her work integrates collections such as: MoMA, New York, USA; Tate Modern, London, England; MACBA (Museum of contemporary art of Barcelona), Barcelona, Spain; MASP (Museu de Arte de S\u00e3o Paulo), S\u00e3o Paulo, Brazil; Basque Museum Art Center, Vitoria, Spain; Deutsche Bank Art Collection; MALI (Museo de Arte de Lima) Peru; MUSAC, Le\u00f3n, Spain; MALI, Lima, Spain; MAR, Rio de Janeiro, Brazil, among others.<\/p>"],"_content_7_texto":["field_6448479f05101"],"_thumbnail_id":["44727"],"_wp_old_date":["2023-04-21"],"_wp_old_slug":["en-vias-de-desarrollo-in-development"],"_uag_css_file_name":["uag-css-44704.css"],"_seopress_search_console_analysis_clicks":["19"],"_seopress_search_console_analysis_ctr":["0.038229376257545"],"_seopress_search_console_analysis_impressions":["497"],"_seopress_search_console_analysis_position":["8.2132796780684"],"_uag_page_assets":["a:9:{s:3:\"css\";s:263:\".uag-blocks-common-selector{z-index:var(--z-index-desktop) !important}@media (max-width: 976px){.uag-blocks-common-selector{z-index:var(--z-index-tablet) !important}}@media (max-width: 767px){.uag-blocks-common-selector{z-index:var(--z-index-mobile) !important}}\n\";s:2:\"js\";s:0:\"\";s:18:\"current_block_list\";a:7:{i:0;s:11:\"core\/search\";i:1;s:10:\"core\/group\";i:2;s:12:\"core\/heading\";i:3;s:17:\"core\/latest-posts\";i:4;s:20:\"core\/latest-comments\";i:5;s:13:\"core\/archives\";i:6;s:15:\"core\/categories\";}s:8:\"uag_flag\";b:0;s:11:\"uag_version\";s:10:\"1776363335\";s:6:\"gfonts\";a:0:{}s:10:\"gfonts_url\";s:0:\"\";s:12:\"gfonts_files\";a:0:{}s:14:\"uag_faq_layout\";b:0;}"]},"uagb_featured_image_src":{"full":["https:\/\/galerialeme.com\/wp-content\/uploads\/2023\/04\/sandra-gamarra_en-vias-de-desarrollo-vii-2022_oxido-de-ferro-e-oleo-sobre-tela_120-x-100-x-25-cm_foto-filipe-berndt-1.jpg",1808,2164,false],"thumbnail":["https:\/\/galerialeme.com\/wp-content\/uploads\/2023\/04\/sandra-gamarra_en-vias-de-desarrollo-vii-2022_oxido-de-ferro-e-oleo-sobre-tela_120-x-100-x-25-cm_foto-filipe-berndt-1-150x150.jpg",150,150,true],"medium":["https:\/\/galerialeme.com\/wp-content\/uploads\/2023\/04\/sandra-gamarra_en-vias-de-desarrollo-vii-2022_oxido-de-ferro-e-oleo-sobre-tela_120-x-100-x-25-cm_foto-filipe-berndt-1-251x300.jpg",251,300,true],"medium_large":["https:\/\/galerialeme.com\/wp-content\/uploads\/2023\/04\/sandra-gamarra_en-vias-de-desarrollo-vii-2022_oxido-de-ferro-e-oleo-sobre-tela_120-x-100-x-25-cm_foto-filipe-berndt-1-768x919.jpg",640,766,true],"large":["https:\/\/galerialeme.com\/wp-content\/uploads\/2023\/04\/sandra-gamarra_en-vias-de-desarrollo-vii-2022_oxido-de-ferro-e-oleo-sobre-tela_120-x-100-x-25-cm_foto-filipe-berndt-1-856x1024.jpg",640,766,true],"1536x1536":["https:\/\/galerialeme.com\/wp-content\/uploads\/2023\/04\/sandra-gamarra_en-vias-de-desarrollo-vii-2022_oxido-de-ferro-e-oleo-sobre-tela_120-x-100-x-25-cm_foto-filipe-berndt-1-1283x1536.jpg",1283,1536,true],"2048x2048":["https:\/\/galerialeme.com\/wp-content\/uploads\/2023\/04\/sandra-gamarra_en-vias-de-desarrollo-vii-2022_oxido-de-ferro-e-oleo-sobre-tela_120-x-100-x-25-cm_foto-filipe-berndt-1-1711x2048.jpg",1711,2048,true]},"uagb_author_info":{"display_name":"Cheyenne","author_link":"https:\/\/galerialeme.com\/en\/author\/"},"uagb_comment_info":0,"uagb_excerpt":null,"_links":{"self":[{"href":"https:\/\/galerialeme.com\/en\/wp-json\/wp\/v2\/viewing_room\/44704","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/galerialeme.com\/en\/wp-json\/wp\/v2\/viewing_room"}],"about":[{"href":"https:\/\/galerialeme.com\/en\/wp-json\/wp\/v2\/types\/viewing_room"}],"version-history":[{"count":0,"href":"https:\/\/galerialeme.com\/en\/wp-json\/wp\/v2\/viewing_room\/44704\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/galerialeme.com\/en\/wp-json\/wp\/v2\/media\/44727"}],"wp:attachment":[{"href":"https:\/\/galerialeme.com\/en\/wp-json\/wp\/v2\/media?parent=44704"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}