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El sol sale dos veces sobre el río
(Pontificia Universidad Católica del Perú, 2023-10-16) Bedoya, Luz María
A story at the crossroads of a reflection on the possibility of conceptual dismantling of some optical devices of representation and the figure of Alexandra David-Néel –one of the first anarchist, feminist and traveler women in history– in order to wonder, attending to their mutual illuminations and their obscurities, about the powers and impotence of distance.
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Memorias de bordadoras
(Pontificia Universidad Católica del Perú, 2023-10-16) Best Núñez, Clara Esperanza
The text is made up of three interviews, which narrate how the knowledge of hand embroidery is transmitted, from generation to generation, based on the testimonies of Yolanda Llontop, Segundina Carranza and Elena Valera, embroiderers from communities originating in Peru. Likewise, they explain other topics related to the transmission of embroidery, such as the meaning of iconography, myths and legends related to this practice, among other experiences.
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Plantillas para [ ] futuro
(Pontificia Universidad Católica del Perú, 2023-10-16) Bauer, Ralph
The work consists of a series of 12 drawings (ink on paper). Each drawing has the size of 29.7 x 42 cm. The templates propose in a systematic, analytic and poetic manner possible ways to deal and interact with an unknown, unpredictable and absurd future. The templates can create some momentary sense and be seen as tools for questioning and rethinking methods and processes.
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Subordinación y agencia: el personaje principal de la película Juliana
(Pontificia Universidad Católica del Perú, 2023-10-16) Morales Polar, Martha
This essay intersectionally analyzes the main character of the film Juliana (1989) in order to highlight the marginal space that frames her and in which she essentially moves, as well as the space where the relations of power and subordination that condition her in the face of the male figure, demanding that he accept submission as a maternal inheritance. It is recalled how race and social class are superimposed on these factors, thus creating simultaneous subordinations. However, it is argued that despite these multiple layers of oppression, Juliana resists and develops an agency that places her in a constant position of questioning, allowing her to challenge the established order.
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Observación desde los umbrales
(Pontificia Universidad Católica del Perú, 2023-10-16) Vela Vargas, Paola
This visual essay is based on Walter Benjamin’s critical analysis of the model of perceptual experience inaugurated by industrial culture, which influenced the observation and understanding of reality and the production of images of the avantgarde movements of the 20th century. In this way, the photographs selected have been recorded over several years with the aim of recovering the experience of observation from the thresholds, which are understood as interstices between the public and the private, between outside and inside, between the past and the present. The final objective of this essay is to recover a contemplative spectator that from a “middle” space, can represent the decline of urban spaces built thanks to the triumph of capital and the circulation of commodities.
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Un jardín y algunas selvas
(Pontificia Universidad Católica del Perú, 2023-10-16) La Rosa Saba, Nancy
A garden and some jungles was presented on november 19th, 2022 as a reading performance at Wiels contemporary art center in Brussels. This visual essay is a translation, both in language and medium, and is part of the artist’s research process. The following pages state a series of questions and generate parallels between what is understood by gardens and jungles.
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Susana Polac. La búsqueda del camino interior
(Pontificia Universidad Católica del Perú, 2023-10-16) Quintana Flores, Moisés Alejandro
Susana Polac is recognized at the Faculty of Art and Design as the first graduate of the Curriculum for Artists implemented in 1940. However, little is known about her performance as a student at the Academy of Catholic Art. Nor her contribution as a teacher at the beginning of this institution. And even less his recognition by local critics as an emerging artist, with two individual exhibitions held in Lima, before his return to Europe in 1950. This research adds to the recent recognition of his figure as an artist who came to have significance in the renewal of religious art integrated into modern Spanish architecture in the second half of the 20th century. The frieze Glorification of Martyrdom, which she carved for the Church of San Pedro Martir, Theologate of the Dominican Monastery in Alcobendas, Madrid, allows us to establish a relationship between her training as a dancer and her sculptural work.
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La mujer armada
(Pontificia Universidad Católica del Perú, 2023-10-16) Pozzi Escot, Rustha Luna
In this article I reflect on the form and function of everyday female objects in my work Mujeres Armadas (2009-2019). Starting from the creation of a singular garment, I extend this proposal to photography and sculpture using the idea of the object from its heterogeneous condition. In this way, I propose a plastic language in which the woman’s body is the support to the extent that it exposes content linked to gender identity and the various themes that arise from it and questions the contemporary image. Likewise, I collect some definitions about the everyday object, ranging from its reason for “being” to its relationship with the work of art, and I review different disciplines and historical moments to, as a Swiss army knife, display some components that explain the importance it has among us.
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El arte como espejo del horror: entrevista a Juan Manuel Echavarría
(Pontificia Universidad Católica del Perú, 2023-10-16) Arias Herrera, Juan Carlos
For more than 25 years, Colombian artist Juan Manuel Echavarría has dedicated himself to investigating the violence of the armed conflict in Colombia through art. Mainly through photography, but also experimenting with other media such as video and installation, his work has attempted to reveal aspects of war that have remained invisible, imperceptible. Within the avalanche of images and narratives of violence that exist today in Colombia, and in many other countries that have suffered war, it is important to reflect about the role of art, about what differentiates it, and what allows it to build memories from unexpected places.
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Sentir la propia sombra
(Pontificia Universidad Católica del Perú, 2023-10-16) Ciudad Witzel, Adriana
Feel Your Own Shadow is a series-in-progress of paintings and watercolors that seeks to bring to light the shadow of the ambivalent condition of motherhood in a world that tends to take it for granted.The title of the series comes from the Guarani people of the Amazon where ‘wisdom’ (Arandu ka ‘aty) means «the one who manages to sense their own shadow».«The darkness embraces everything», says Carlos Papá Mirim Poty, a Guaraní leader. «Mother darkness is where we come from when we are born and where we go when we die. Inside the mother’s womb we have our first existence in darkness [...]».For people like myself, raised in a post-colonial Western paradigm, understanding reality from an indigenous perspective implies a process of unlearning. It involves a monumental effort, perhaps impossible, to transgress the limits of our reason and thus enter a Weltanschauung, a worldview that defies all Western logic and ontology. The act of unlearning has become an arduous but intuitive process for me in which I enter the darkest depths of my being, trusting and letting myself be carried away into new worlds and places, in an attempt «to feel my own shadow».

Núm. 1 (2023)

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