Curator and art critic Luis Lama Mansur is also a gallery director, critic, and teacher. He was born in the Dominican Republic and has lived in Peru since the 1970s. In the late 1990s, he promoted the Bienales Nacionales and the Bienales Iberoamericanas de Lima (both now defunct). He wrote art criticism that was published in Caretas (Lima), one of the most influential weekly magazines in the country, and became involved in its controversies.
Hernán Pazos, a well-known painter who went to France in 1975 to study at the Ècole des Beaux-Arts in Paris after stints at the ENBA (Escuela de Bellas Artes) in Lima and Cristina Gálvez’s studio. In 1980, he returned to Peru, where he currently lives and works.
This article appeared in the eighteenth issue of Hueso Húmero, a magazine that was wholly devoted to Peruvian art produced during the period 1960 to 1980 and included numerous contributions from a variety of specialists, critics, and theorists. This “arts and letters magazine” was one of the most influential publications in Peru due to its extensive coverage of artistic and literary works and criticism.
[For more articles published in Hueso Húmero magazine, see the ICAA digital archive: “Arte joven peruano: ¿El sueño del mercado propio? Una conversación con Claudia Polar” (doc. no. 1146565), and ¿Entre lo popular y lo moderno? Alternativas pretendidas o reales en la joven plástica peruana” (doc. no. 1143012), by Gustavo Buntinx; “El Museo Hawai: una naturaleza muerta de la cultura: notas acerca de la serie The Progress of Peru,” by Rodrigo Quijano (doc. no. 1146533); “Sobre fotografía peruana actual: posibilidades de superar una depresión,” by Mario Montalbetti (doc. no. 1139634); and “Williams o el pretexto de la realidad,” by Alfonso Castrillón (doc. no. 1143045). See also the survey conducted by Hueso Húmero magazine: “Por qué no vivo en el Perú” (doc. nos. 1143109 and 1143125)].