Documents on Display
|A great idea of the
Museum of Art, to put on an exhibition of photographs, in conjunction with the Biennial of
Ibero-American art in Lima. Our main creators of the image captured by lens (27 in total,
although they are not the only ones), are present in this exhibit, which continues until
21st December. It displayed three decades of works (1960-1990), which in a compressed synthesis,
recount the evolution of this undertaking, which has acquired, with good reason, the title
of Art in capital letters.
In 1960, Lima became the main axis for the local development of photography. The pioneers of the southern Andes were Martin Chambi, his son Victor, and Eulogio Nishiyama. And in the capital, like a rejoinder in a different language, appear the names of José Casals, Baldomero Pestana, and Carlos Dominguez, attached to portraiture, a genre which would be followed by later generations: Alicia Benavides, Herman Schwarz, Maria Cecilia Piazza.
In the Seventies the young people of the Secuencia (Sequence) group, headed by Fernando La Rosa come to the fore. The lenses of the latest Young Turks of photography are fascinated by urban spaces. There is Juan Enrique Bedoya, exploiting the kitsch, the admirers of religious syncretism, like Javier Silva, the lovers of landscape as inspiration (Billy Hare). And in the Eighties, along with the clean breeze of democracy, spring forth photojournalists with a distinctive identity: Victor Ch. Vargas, Jaime Razuri, and many others. The total nude, which had been chastely absent from photography, becomes a privileged field for some Lima photographers.
Ana Maria MacCarthy is a dominant figure, in the good company of other names. Roberto Huarcaya works in large format, and turns to color. Roberto Fantozzi introduces an ironic and irreverent gaze, portraying social nuclei, and then fixes on multiple photographic compositions of individualistic inspiration.
This is a brief summary of what one simply must saw at the Museum of Art. An exhibition whose curators, Natalia Majluf and Jorge Villacorta, only threw into high relief the creative magic of the best-known photographers of the medium. The catalog and sponsorship were donated by Apoyo (Support). A good support.
Volume II/Issue 10, Page 80
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