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Bello afiche para un gran festival
1966This was the first time a national publication—the Lima newspaper El Comercio—had published the guidelines for the Festivales de Lima, an event of great importance in Latin America that took place in October and November 1966. The event consisted [...]ICAA Record ID: 1302789 -
Historia, modernidad y ruina peruana : notas sobre identidad y espacio en la obra de Carlos Runcie Tanaka
2004Rodrigo Quijano argues that Tiempo detenido—the installation by ceramicist Carlos Runcie Tanaka—does more than illustrate a traumatic event. Since its beginnings, Quijano asserts, the work has been linked to the artist’s search for identity. To [...]ICAA Record ID: 1293738 -
Bajo el sol negro
1994The author, Natalia Majluf, states that these works, created using the techniques of the “minutemen” photographers that work in provincial city plazas, could initially be thought as ethnographic or touristic photography. Nevertheless, when [...]ICAA Record ID: 1293722 -
La ciudad : el camello por el ojo de la aguja
2002In this text, Rodrigo Quijano argues that Lima 01—a series of photographs of inverted images of interiors of old abandoned buildings in downtown Lima—addresses questions of forgetting and urban decay. The series makes reference to the design of [...]ICAA Record ID: 1293706 -
Artes plásticas : respuesta a Szyszlo
1954In this response to Fernando de Szyszlo, well-known critic Sebastián Salazar Bondy points out how dynamic the Peruvian art scene is; against all odds, “there are people working tirelessly, with no pointless nostalgia as they undertake the creation [...]ICAA Record ID: 1293656 -
Exposición César Moro
1937According to the author of this text, the works by César Moro on exhibit are aggressively disconcerting; indeed, there is “nothing to say about ‘things’ so removed from mainstream painting.” The author points out that, at this time, the [...]ICAA Record ID: 1293639 -
En el Museo gráfico del Hospital Larco Herrera de Magdalena del Mar
1935This article about the Museo del Hospital Psiquiátrico Víctor Larco Herrera [Museum of the Victor Larco Herrera Psychiatric Hospital] (in Peru’s capital city) was written by Ernesto More, under the pseudonym “Jerome,” as part of a series on [...]ICAA Record ID: 1293622 -
Exposición de pintura moderna en la Academia Alcedo
1935Poet César Moro describes the confusion and expectations of the public at the Surrealist art show, while also questioning the judgments pronounced on the show by “those charmers from the base police known as critics of purpose and profit,” whose [...]ICAA Record ID: 1293605 -
Exposición superrealista Moro-Valencia
1935This text announces the upcoming opening of the show of Surrealism organized by César Moro at the Academia Alcedo in Lima. The writer, who confesses he has not seen the show, comments that it is the first Surrealist exhibition to take place in the [...]ICAA Record ID: 1293589 -
Desde París : Autopsia del suprerrealismo
1930In this text, eminent Latin American avant-garde poet César Vallejo asserts that “among the symptoms of the final decline of the capitalist intelligentsia is the vice of coterie.” He argues that the crises of economic imperialism are reflected [...]ICAA Record ID: 1293573 -
Figuras y aspectos de la vida mundial : El Segundo manifiesto del suprarrealismo (1)
1930According to José Carlos Mariátegui, Breton (in his second manifesto) “prosecuted” all the writers and artists who, having initially embraced surrealism, then renounced it. Though he mentions the attacks on Pierre Naville, he claims that the [...]ICAA Record ID: 1293556 -
Figuras y aspectos de la vida mundial : El balance del suprarrealismo. A propósito del último manifiesto de André Breton
1930In this text, José Carlos Mariátegui argues that no avant-garde artistic or literary movement has been “as significant historically or important as content as Surrealism.” He asserts that, while Futurism attempted to go beyond formal [...]ICAA Record ID: 1293479 -
Bill Caro : pinturas
1986In this brief review, Bill Caro discusses his own career, ranging from his 1972 exhibition (focused on Lima shantytowns) to his interest in light that became one of the key facets of his work in the 1980s. Caro states that “photographing is as [...]ICAA Record ID: 1293457 -
Bill Caro 76
1976This document is the catalogue to Cementerio de automóviles, an exhibition of work by hyperrealist painter Bill Caro held at Galería Enrique Camino Brent in Lima in late 1976. In a synopsis, architect Héctor Velarde states that beauty is “ [...]ICAA Record ID: 1293440 -
Carta analítica al pintor Bill Caro
1973In this letter to painter Bill Caro, Emilio Harth-Terré asserts that the views of the neighborhoods of Lima Caro painted constitute “artistic expression” that goes beyond any attempt at social protest. The painter formulates, in Harth-Terré’s [...]ICAA Record ID: 1293393 -
La pintura contemporánea en el Perú
1946In his introduction, Juan E. Ríos—the author of this overview of Peruvian painting from the first half of the twentieth century—describes Peruvian art as “the creation of a visual equivalent of reality, rather than a mere copy of it” denying [...]ICAA Record ID: 1293275 -
Ensayo sobre la pintura peruana contemporánea
1942In this essay, Peruvian art critic and diplomat Raúl María Pereira provides an overview of Peruvian painting from the first half of the twentieth century. While the author praises the first generation of academic painters, he believes that their [...]ICAA Record ID: 1293152 -
Consideraciones sobre la pintura peruana
1939In this text, Raúl María Pereira reflects on the history of painting in Peru, affirming that the Incan “genius in form and color” lived on despite the Spanish conquest, not as a parallel or marginal entity, but as a force that acted on “the [...]ICAA Record ID: 1293103 -
Szyszlo o acerca de la confluencia de lo abstracto y lo mítico : exposición en la Galería Latinoamericana de la Casa de las Américas
1968According to the Cuban journalist, there is “a rich tradition of indigenous art” behind the paintings by Fernando de Szyszlo that were exhibited in Havana: a form of popular art whose roots can be traced back to pre-Hispanic culture in the Andean [...]ICAA Record ID: 1292994 -
Una América que se llama Szyszlo / Marta Traba
1964For Marta Traba, the Fernando de Szyszlo exhibition in Bogotá (Colombia) evidences that “the mistake does not lie in wanting to be American, but in how one is American.” In her opinion, the series of works by the Peruvian painter inspired by the [...]ICAA Record ID: 1292951 -
Poesía quechua y pintura abstracta : a propósito de una exposición reciente de pinturas de Szyszlo
1964In this text, poet Emilio Adolfo Westphalen considers the series of paintings produced by Fernando de Szyszlo on the basis of the Quechua poem Apu Inca Atawallpaman written during the colonial era. Westphalen asserts that the relationship between [...]ICAA Record ID: 1292880 -
Szyszlo : una aproximación
1964In his remarks on the series of paintings Apu Inca Atawallpaman inspired by the colonial-era Quechua poem of the same name, Sebastián Salazar Bondy rejects criticism that “sets out to speak FROM painting” and, thus, marginalizes theme. He argues [...]ICAA Record ID: 1292847 -
Consideraciones estéticas : Szyszlo en el I. A. C.
1963Juan Acha discusses the exhibition of Fernando de Szyszlo’s series of paintings inspired by the indigenous poem “Apu Inca Atawallpaman,” an event that was organized by the Instituto de Arte Contemporáneo (IAC) in Lima. Acha finds the [...]ICAA Record ID: 1292805 -
Nuevas pinturas de Szyszlo
1963In this text, Peruvian art critic Carlos Rodríguez Saavedra comments on a show of the series of painting by Fernando de Szyszlo based on Apu Inca Atawallpaman, a colonial-era Quechua poem translated into Spanish by writer and anthropologist José [...]ICAA Record ID: 1292779 -
Szyszlo : serie sobre el poema Apu Inca Atawallpaman
1963This is the catalogue for the exhibition of canvases and gouaches by Fernando de Szyszlo inspired by the series Apu Inca Atawallpaman, based on the colonial-era Quechua poem about the death of the Inca Atahualpa and the fall of the Tahuantinsuyo [...]ICAA Record ID: 1292718 -
Pintura de Fernando de Szyszlo
1957Javier Sologuren reviews the abstract oil paintings by Fernando de Szyszlo exhibited at the Instituto de Arte Contemporáneo (IAC) [Institute of Contemporary Art] in Lima. The author praises the quality of the works, whose values express “visual [...]ICAA Record ID: 1292692 -
Hacia una crítica marxista del marxismo. Entre Marx y la Estética
1984[This article is] a debate between the German Marxist intellectual Iring Fetscher and the writer Mirko Lauer for the Peruvian magazine U-tópicos Entornoalovisual, moderated by Gustavo Buntinx, the editor of the magazine. This issue of the magazine [...]ICAA Record ID: 1292607 -
Desbordar los límites
1984This editorial was published in number 4/5 (1984) of U-tópicos. Entornoalovisual, the Peruvian magazine. In the text, Gustavo Buntinx states that, while the Marxist proposal has yet to be carried out, Marxism itself tends to be distorted and reduced [...]ICAA Record ID: 1292558 -
Por una cultura real
1983This editorial appeared in number 2/3 (1983) of the magazine U-tópicos: Entornoalovisual (Lima). The text refers to the ongoing failures of the Peruvian government’s cultural organizations over the course of two decades, including the “ [...]ICAA Record ID: 1292528 -
[Águila, tigre, Che Guevara, Rosa de los Vientos...]
1984On the back cover of number 4/5 of the magazine U-tópicos: Entornoalovisual (Lima, 1984), a brief anonymous article discusses the iconographic scenes painted on truck mudguards. The writer points out that, despite being ignored “by [...]ICAA Record ID: 1292492 -
Veleidad y demografía en el no-objetualismo peruano
1983To provide context for non-object art in Peru, researcher Hugo Salazar del Alcázar briefly cites theorist Juan Acha. Salazar del Alcázar is critical, however, in his description of a scene that in no way partakes of the avant-garde enthusiasm Acha [...]ICAA Record ID: 1292448 -
Tres día en Lima : V jornada : en el “Estudio” de José Sabogal
1929In this text, José Eulogio Garrido speaks of his journey to Lima in order to see José Sabogal’s art in his home. Indeed, that was “one of the basic reasons I undertook the pilgrimage to Lima.” But Garrido saw only two works in the artist’s [...]ICAA Record ID: 1290372 -
El primer Salón Municipal
1948Juan Ríos discusses the I Salón Municipal de Lima, which in his opinion, was a failure because most Peruvian artists decided to boycott the event due to widespread mistrust of the jury, which was made up of “distinguished civil servants or [...]ICAA Record ID: 1289952 -
Sintonizando : sobre el arte en el Perú
1943The author of this text, signed “Savonarola,” affirms that he and painter Enrique Domingo Barreda are old friends, and he remarks on Barreda’s outstanding personal qualities. Notwithstanding, the author believes that, due to his prolonged [...]ICAA Record ID: 1289927 -
Sobre el arte en el Perú : necesidad y obligación
1943This is a review of the state of art in the capital city of Peru, written by the academic painter Enrique Domingo Barreda on the occasion of the I Salón organized by the Municipality of Lima. In his opinion, this competition exposed “the appalling [...]ICAA Record ID: 1289889 -
Verano limeño y arte
1943This [document is a commentary by] Mercedes Gallagher de Parks on artistic activities in Lima during the summer of 1943, including plays by Louis Jouvet, performances of Coronel de Bassil’s Russian ballet, and concerts by the Sociedad Filarmónica [...]ICAA Record ID: 1289858 -
Lo pictórico, lo fotográfico y lo “pompier”
In this text, Raúl María Pereira rejects the notion of sincerity—a value as arbitrary as it is ungraspable—as privileged category in artistic creation. He upholds, rather, the duty born of “today’s agonizing mindset”—the search for the [...]ICAA Record ID: 1289806 -
Artes populares peruanas
1940In this article, José Sabogal discusses Peruvian traditional art, which in his opinion, is “the key point, in the Americas, where Hispanic America began. When indigenous cultural expressions were combined with the invasion of Mediterranean visual [...]ICAA Record ID: 1289545 -
José Sabogal está en busqueda del arte del pueblo : un momento de exaltación de las fuerzas del Perú con el gran animador del arte vernacular nacional
1950In this article, the editor of the newspaper Noticias de Arequipa interviews José Sabogal on the occasion of the artist’s visit to Arequipa, and they talk about contemporary Peruvian painting and traditional art. On the former topic, Sabogal [...]ICAA Record ID: 1289505 -
Arte peruano : Camilo Blas
1926This article by José Sabogal is about the recent work produced by the Indigenist painter Camilo Blas. The author discusses Blas’ two scenes of Cajamarca that are to decorate the new Salón de Palacio, which opened in 1924 in celebration of the [...]ICAA Record ID: 1289476 -
Las ideas doctrinarias y la pintura
1958Juan Acha argues that national identities are based on the sense of belonging to a tradition, one which transcends and regulates the adoption of foreign models. Therefore, “nationality” rests on a balance between the continuity of what is [...]ICAA Record ID: 1272963 -
Sobre un arte integral
1955In response to the hypotheses of an “integral art” proposed by Alejandro Romualdo, the writer states his belief that Modern art trends entail a progressive “destruction of reality.” This is why art’s síntesis cannot entail a return to [...]ICAA Record ID: 1227195 -
Sobre un arte integral : punto final
1955This text is Alejandro Romualdo Valle’s final round in the debate he carried on with Luis Miró Quesada Garland about the first prize at the Second Salón Moncloa, awarded to the painting Pan by Alfredo Ruiz Rosas. The writer considers the [...]ICAA Record ID: 1227176 -
Reportaje a Romano Espinoza Cáceda
1952In this interview, Romano Espinoza Cáceda classifies Peruvian art into three major periods: ancient (decorative, with its own characteristics), colonial (marked by “natural” European influences) and modern (attempting to pinpoint what makes art [...]ICAA Record ID: 1227158 -
Sobre un arte integral (respuesta al arquitecto Luis Miró Quesada G.)
1955In this article, the writer responds to the comments of Luis Miró Quesada Garland, defending the use of the category “integral art.” He defines this term as a fusion of different trends into “a new creative orientation” structured under a [...]ICAA Record ID: 1227139 -
Entrevista concreta a un pintor abstracto
1955In this interview with Fernando de Szyszlo, the painter states that he is misunderstood within the Lima arts scene. He refutes the notion that an artist must be socially engaged because, in his judgment, “a painter’s only duty is to be a good [...]ICAA Record ID: 1227120 -
Cuidado con la pintura : el arte por el arte abstracto : comentario al premio “Manuel Moncloa y Ordóñez
1955Alejandro Romualdo Valle critiques the III Salón de Pintura Manual Moncloa which, in his judgment, posits “abstract art as a complete substitute for art,” arguing that abstraction divides man from art, thus debilitating the latter. [He states] [...]ICAA Record ID: 1227101 -
Puntos de vista
1954In this text, Luis Miró Quesada Garland responds to the letter from critic and playwright Edgardo Pérez Luna published on November 7, 1954. To counter the opinion that abstract art has no “meaning,” Miró Quesada Garland cites Hegel, Schiller, [...]ICAA Record ID: 1227082 -
Cartas al Director
1956Fernando de Szyszlo sent this open letter to the editor of Cultura Peruana magazine in response to the article by journalist Jesús Manual Orbegozo that was published in this same magazine (Lima, December 1955). Szyszlo denied the declarations [...]ICAA Record ID: 1227064 -
La pintura abstracta : proceso de subjetivación : Szyszlo trata de explicar lo que pocos entienden
1955Fernando de Szyszlo was interviewed following his success at the III Salón Moncloa. After presenting a brief biographical sketch of the artist, the anonymous interviewer records his opinions on the subject of contemporary art: “the fruit of a [...]ICAA Record ID: 1227046