portafolio - 80m2 | LIVIA BENAVIDES

GABRIEL ACEVEDO
Malecón Pazos 252 Barranco
Lima, Perú
(51-1) 252 9246
www.80m2galeria.com
[email protected]
Pasillo de documentos e imágenes promocionales
Galería 80M2 Livia Benavides
Cuando las puertas del ascensor se abrieron en el piso 22, no podía ubicar la relación entre este hall y la
posición del edificio respecto a la entrada. De hecho, olvidé por unos instantes cómo había llegado ahí. La
panorámica de la ciudad soleada entraba por amplias ventanas levemente cubiertas de polvo reluciente. ¿Era
este el ministerio desde donde se podía ver el mar a lo lejos? ¿Era aquí donde estaban los estudios del primer
canal de televisión? “Por aquí, por favor”, me dice el encargado.
Hay un espacio en común entre el mundo de deseos subjetivos y la experiencia de las instituciones
modernas, como el estado o el museo. Es un estado de “quasi-escenografía” en donde estas dos dimensiones
se distorsionan mutuamente. Ahora, por ejemplo, tuve varios encargos: concebir la imagen institucional del
canal de televisión estatal, diseñar la portada de un libro sobre un caso histórico de corrupción y hacer una
exposición individual. Hace unos días, mientras corría al lado del mar, pensaba que todo esto demandaba
simultáneamente responsabilidad ciudadana y un enfoque personal.
Mientras el encargado me llevaba a través de pasillos de oficinas cerradas, yo trataba de grabar en la
memoria todo lo que veía. Esos segundos se convirtieron en horas, días, tal vez años de imágenes, algunas
vívidas, otras filtradas por casets de VHS o Betamax. En algún momento mi sonrisa se detuvo frente a la cara
del Jefe de Personal, que me dijo que no, no se puede. Gracias de todas maneras, respondí sin dejar de sonreír,
pues sabía que en realidad no necesitaba su permiso. Sólo quería conocer el edificio por dentro.”
Gabriel Acevedo Velarde
Pasillo de documentos e
imágenes promocionales
2015
Témpera gouache y tinta sobre papel
42 x 29,4 cm
7 series y 10 obras individuales
Pasillo de documentos e
imágenes promocionales
2015
Puertas de conglomerado de madera
con placa de acrílico
200 x 91 x 5 cm
Sin título
Témpera y tinta sobre papel
42 x 29,4 cm
2015
IU Betamax VHS
Video NTSC
1 min
2015
Ed. de 5 + 2 AP
IU BETAMAX VHS
18 dibujos
Témpera gouache sobre papel
2014
42 x 29,4 cm
Vista de composición
Gabriel Acevedo
Peruvianus Monstrose
Tinta sobre pizarra acrílica
2014
40 x 60 cm
Gabriel Acevedo
Peruvianus Monstrose
Tinta sobre pizarra acrílica
2014
40 x 60 cm
Gabriel Acevedo
Peruvianus Monstrose
Tinta sobre pizarra acrílica
2014
40 x 60 cm
Decreto 882
2014
Video
03 min. 47 seg.
Edición de 5
El Peruano Trome
2014
Video
05 min. 34 seg.
Edición de 5
Stills de video
The Farthest Plane
Within a radius of ten meters, the things in our environment are known to us through
the eyes' muscular movements in terms of near and far. Outside this radius, there is
originally only an enlargement or shrinking of objects. The infant's visual space ends
here with an all-encompassing farthest plane. Only bit by bit do we learn to push the
farthest plane ever farther with the help of distance signs, until the adult's visual space
ends at a distance of six to eight kilometers and the horizon begins.
The difference between the visual space of a child and that of an adult is explain in
Figure 12, which reproduces visually an experience related by a personal friend. He
reports that, as a small boy (ca. 1981), he was walking by the Ministry of Work in
Lima, Peru, and noticed some workers in the windows. He then asked his father if he
might take a couple of the little dolls down for him. The Ministry and the workers were
already located in the boy's farthest plane and were therefore not far away, only small.
He therefore had every reason to assume that his father, with his long arms, could
bring the dolls down from the windows. He did not know that the Ministry had entirely
different dimensions in his father's environment and that the people in the windows
were for him not small but far away.
A phenomenology of the state [detail]
A phenomenology of
the state [detail]
Graphite on paper
16 x 12.6 cm
2013
Ciudadano Paranormal [Paranormal citizen]
Museo Nacional Centro de arte Reina Sofia, Madrid, oct. 2013
Text from museum’s brochure:
Gabriel Acevedo Velarde (Lima, Peru, 1976) presents his artistic proposal in two of the
most singular exhibition spaces at Museo Reina Sofía, Espacio Uno and the Protocol Room.
In the former, visitors are met with engraved signs - aesthetically related to op art and kinetic art - that
evoke the areas of transition found in traditional film exhibition spaces, areas such as box offices and
vestibules. Contact is thus made with the intermediate symbolic geography suggested by Acevedo, the
area between State and spectacle and between citizen and spectator. Dichoto- mies formed by the political
and the spectacular, focused on the architectures of power, civil servants and commercial establish- ments.
After selecting a seat, all of which have been used at some time prior to the founding of the museum,
as office chairs that have been taken out of storage for this exhibition, spectators are shown Ciudadano
Paranormal.The video contains a number of people talking about the presence of paranormal phenomena
in official buildings, exploring ghostly interference in the supposed disci- plined normality that usually
characterises institutions. The artist includes what happens in front of the camera during moments not
intended for broadcast, such as advertising breaks. This footage shows how television language is built and
highlights its need for architectures that lose their functional meaning when they are not accompanied
by the narrative and editing techniques that normalize such structures in the eye of the television viewer.
In the Protocol Room, viewers see Cliente Secreto, an audiovisual project that reveals the tools of
authority embedded in labour policy. A series of uniformed supermarket employees conceal, under the
cloak of nationalistic enthusiasm, the servility of work car- ried out like a beehive society or army, full of
discipline-forming routines. These creations have their genesis in a context like Peru’s current situation,
in which the country is experiencing economic growth but such growth is not accompanied by a
strengthening of institutions. This brings about the sensation of a progressive fading of the State, that
spectral-State that confronts the authoritarian market about which Acevedo allegorically speaks to us.
market
about allegorically
which Acevedo
allegorically
market about which
Acevedo
speaks
to us. speaks to us.
Cinema sincopado
[Syncopated cinema] 1-7
Engraved acrylic, paint, wood, thumb tacks 26 x 26 x
Cinema sincopado
Cinema
sincopado
1.2 cm
[Syncopated
cinema] 1-7
[Syncopated cinema]
1-7
2013
Engraved
acrylic,
paint,
wood, thumb tacks
Engraved acrylic,
paint, wood,
thumb
tacks
26 x 26 x 1.2 cm26 x 26 x 1.2 cm
2013
2013
Ciudadano Paranormal [Paranormal citizen]
Video (HD, 24p)
1h 2min
2013
Video (HD, 24p)
1h 2min
2013
Still de video
Cliente secreto [Secret costumer]
Video (HD, 24p)
4 min
2013
Cliente secreto [Secret costumer]
Video (HD, 24p)
4 min
2013
Still de video
Art piece no. 23, 24, 25, 26
2013
Plaster, acrylic, MDF, perforated HDF, transparent tape, steel
screws, aluminum cylinder
39.5 x 37 x 18.4 cm each
Art piece no. 23
2013
Plaster, acrylic, MDF, perforated HDF, transparent tape, steel
screws, aluminum cylinder
39.5 x 37 x 18.4 cm
Art piece no. 24
2013
Plaster, acrylic, MDF, perforated HDF, transparent tape, steel
screws, aluminum cylinder
39.5 x 37 x 18.4 cm
Art piece no. 26
2013
Plaster, acrylic, MDF, perforated HDF, transparent tape, steel
screws, aluminum cylinder
39.5 x 37 x 18.4 cm
and/or
3D animation
transferred to DVD (silent). 8 min. 16 sec.
2012
and/or
3D animation
transferred to DVD (silent).
8 min. 16 sec.
2012
Stills de video
Visitas
Museo Experimental El Eco Mexico City
2012
The exhibition consisted of two pieces: “Visitas”, a silent video in two channels, and
“Rumberos de ayer”, a sound piece for 5 channels.
For the video, a 5 x 5 meters scenography was built. It was shot with two cameras attached
to the hips of a dancer, who rotated during the whole length of the video doing africancaribbean dance moves. Each projection corresponds to one hip/camera (left and right). A
character, dressed like Cesare from The Cabinet of Doctor Caligari, also appears in the video.
Both pieces were specially produced for the Museo Experimental El Eco, designed
by Mathias Goeritz as a materialization of his “Emotional arquitecture” manifesto.
Visitas
Video, two channels (silent) 13 min
5 sec.
2012
Art pieces
2011
Solo show at Arratia Beer gallery
invitation image and exhibition, general view. Berlin
Art pieces
Solo show at Arratia Beer gallery
invitation image and exhibition, general view.
Berlin, 2011
Art piece No. 10.
MDF, aluminum pen, chain and object.
101 x 42 x 42 cms
2011
URÀOHV
Art piece No. 6.
Wood crate, acrylic plates, aluminum profiles, formica, metal
handles.
67 x 50 x 50 cms.
2011
Art piece No. 9
Cardboard, paper, acrylic, acrylic, formica,
foam.
59.4 x 42 x 7 cm.
2011
Art piece No. 8
MDF.
85 cm 42 x 54 cm.
2011
Foam, acrylic, steel screws, MDF.
59.4 x 42 x 8 cm.
2011
Art piece No. 2
Foam, acrylic, steel screws, MDF. 59.4 x 42 x 8 cm.
2011
Hijos de la nada
2010
In 2010 I produced a videoclip (lyrics, music, video) about a case in Peruvian media. Though the videoclip failed in its main aim --that
is, to get some response in social networks and radio stations-- I like the idea of doing pop proj- ects as activism. I didn’t present
it as an art project in Lima, though it was produced for the Biennale of the Ameri- cas, an art event in Denver. Here’s the story:
In January 2010, a group of teenagers damaged some reliefs in the Pre-Hispanic city of Chan Chan, Peru. Not only that, they
also uploaded the video to YouTube, so the vandalism adventure got to the frontlines in Peruvian news immediately. A
scandal arose in the whole country, with the President himself asking for a severe punishment to the irresponsible teenagers.
To damage, destroy, or disappear buildings or pieces of the Peruvian Historical Heritage is not uncommon, just as it is not surprising
to notice the intense level of racism in Peruvian society. Many of the comments to the video in YouTube, made by Peruvians, were
openly racist against the teenagers, for they being dark-skinned, or “indios”. Peruvian racism can be as blunt and schizophrenic as that.
In Peru, nobody cares about racism, but everybody screams when someone publicly damages a historical
monu- ment. It’s the object that matters, not the people. And it’s the object that matters, in its decontextualized
nature, not its cultural meanings. So the Peruvian Historical Heritage is actually a piece of furniture.
I wanted to use the same video material from the Chan Chan teenagers and re-insert intoYouTube and all Internet social websites available,
in the form of a videoclip. At the end, the project tries to point out that the existence of an official nationalistic discourse, coming from the
government’s propaganda, not only fails in promoting a fair integra- tion of people coming from different cultural backgrounds in Peru, but
also manages to propagate into other areas of society involved in cultural production,like pop music.The idea of making a commerciallooking
video clip is to use an undercover strategy, one that will try to show some of the cracks in Peruvian consumable nationalism of the 2000s.
photocopies, 1 table, 2 chairs.
Variable dimensions.
2010
Hijos de la nada
[Sons of nothing]
Videoclip and documentation 1 video
transferred to DVD, photocopies, 1 table, 2
In 2010 I produced a videoclip (lyrics, music, video) about a case in Peruvian chairs.
media.
Though the videoclip faile
Variable dimensions.
its main aim --that is, to get some response in social networks and radio stations-- I like the idea
2010 of doing pop
ects as activism. I didn’t present it as an art project in Lima, though it was produced for the Biennale of the Am
cas, an art event in Denver. Here’s the story:
Cone Flow
2010
Fort Worth Modern Art Museum. Detail: room 2
Polyester, garbage, ropes.
Variable dimensions.
The ropes were meant to be pulled by the visitors. Whenever this
happened, the garbage slided down into different spots on the
polyester “landscape”.
polyester “landscape”.
Extracción
[Extraction]
29th Biennial of Sao Paulo
Wood structure, video projector, monitor, 2 DVD
players, 2 headphones sets, sound system, printed
documentation, photocopies*.
Interviews video: 40 min
Monitor video: 15 min.
I made a trip to the triple-border area between Bolivia, Brasil and Peru, having as goal to
know to what extent there is an identity particular to this place, considering the fact that
for the three countries this territory is very far from any big city. So the trip began with the
hope to find a hint of a cross-border, shared amazonic culture, something which for many
Latinamericans like me is a desire cultivated since childhood: the dream of unification.
In the projected video the visitors could watch several interviews to people of
the three nationalities. These testimonies were edited so that one never hears
any word relating to their particular citizenships (no “Peru ̈, no “Bolivian”, etc).
The monitor video is a travel diary, where I describe what I found instead of a shared culture.
Interviews video: 40 min
Monitor video: 15 min.
2010
I made a trip to the triple-border area between Bolivia, Brasil and Peru, having as goal to know to what extent there is an identity
particular to this place, considering the fact that for the three countries this territory is very far from any big city. So the trip began
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Gabriel Acevedo Velarde
Education
Solo Exhibitions
2002-2004
Film production house La Alcachofa Films.
Mexico City.
2015
Pasillo de documentos e imágenes
promocionales, 80M2 Livia Benvides, Lima
2009
“Runway Dance”. Maribel Lopez Gallery.
Berlin.
2000-2003
Licenciatura en Artes Plásticas (BA Fine
Arts), Universidad de las Américas Puebla.
Mexico
2014
MAM Project 020, Interruptions in decrees
and stages, Mori Museum, Tokio.
“Quorum Power”. Museo Carrillo Gil,
Mexico City.
1998
Instituto Gaudí, Photography Department.
Lima, Perú
1995-1997
Facultad de Artes (Fine Arts Department),
Pontificia Universidad Católica del Perú.
Lima, Perú
1993-1994
Facultad de Letras (Humanities Studies
Department), Pontificia Universidad Católica
del Perú. Lima, Perú
Group Exhibitions
2013
“Ciudadano Paranormal”. Museo Nacional
Centro de Arte Reina Sofía, Madrid (Sept.).
2008
“No matter what happens to you, we will
keep growing”.Y Gallery. Queens, New York.
Incorporación, desprendimiento. Galeria
OMR, Mexico City.
2012
“Visitas”. Museo Experimental El Eco, Mexico
City.
“Maratón”. Galeria Leme, Sao Paulo.
“Escorpião e/ou Fotocopias de 1999”.
Galeria Leme, Sao Paulo.
2011
“Art pieces / Tonotono”. Arratia, Beer gallery,
Berlin
2010
“Territorial” (in collab. with Rafael Polar).
Sound installation at Museu de Arte
Moderna de Sao Paulo.
“Cone Flow”. Modern Art Museum of Fort
Worth. FW, Texas.
2006
“Sinapsis insurrección”. Sala de Arte Público
Siqueiros, Mexico City
“Sinapsis 1”. Galeria OMR, Mexico City
“Prehistoria. Animations and drawings”. The
Agency Contemporary, London
“Prehistoria”, Escenario. Subzone2 Galerie
Adler, Frankfurt.
2005
“Conmemoración”. Museo Carrillo Gil,
Mexico City, Mexico.
2013
“Biopic”, Maria Stenfors Gallery, London
2012
“Pop Politics. Activismos a 33 Revoluciones”,
CA2M, Madrid (Nov.)
“Remesas: flujos simbólicos/movilidades de
capital”, cur. by Rodrigo Quijano. Fundación
Telefónica, Lima.
“Positioning Osmotic Impulses”, ex-prision
Gefängis Karl-Marx-Strasse, Berlin.
“Culturas en tránsito”. Panorámica del
videoarte en Perú, Centro Cultural de España,
Santiago de Chile.
Berlin Status (1). Künstlerhaus Bethainen, Berlin.
“Aire de Lyon”. Fundación Proa, Buenos Aires.
2011
“Biennale de Lyon”. Lyon.
“Uro”. IMO, Copenhagen.
“Belvedere”. Galeria Estrany - De la Mota,
Barcelona.
“Arte al paso. Colección contemporánea del
Museo de Arte de Lima”. Estaçao Pinacoteca de
Sao Paulo.
Group Exhibitions
Brazil
2010
“Audience as subject”.Yerba Buena Center
for the Arts, San Francisco, USA
“Like a river that stops being a river or like
a tree that is burning in the horizon without
knowing it is burning”. Temporary Gallery,
Cologne, Germany
“Cosmopolitan Routes: Houston collects
Latin-American Art”, Museum of Fine Arts,
Houston, USA
“Bienal de Sao Paulo”. Sao Paulo, Brazil
“Bienal de las Américas”. Denver, USA
“Auto-Kino”. (a project by Phil Collins).
Temporäre Kunsthalle, Berlin
“Polimorfos Perversos”, Galeria Fernando
Pradilla, Madrid
“When lives become form”. (Olinda Celeste,
in collab. with Lucia Koch).Yerba Buena
Centre for the Arts, San Francisco
“The mole’s horizon”. Bozar, Brussels
2009
“7aBienal do Mercosul” (as part of Erick
Beltrán curatorial project) Porto Alegre,
Project Space. London
X-Teresa Arte Actual, Mexico City
“Borderling moving image 2007”. Beijing Film
“Restraint”. Oboro and Maison de la culture “E-Flux Video rental”. Centro de arte Moderna
academy. Beijing
José
de
Azeredo
Perdigão
Fundação
Calouste
Marie-Uguay, Montreal
Gulbenkian, Lisbon
“e-flux video rentals”. Carpenter Centre,
“Juntos acordaron adelantar el atardecer”.
Harvard University, Cambridge.
“Old
News
4”.
Midway
Contemporary
Art,
Fundación Sa Nostra, Mallorca
Minneapolis
2006
“Yo uso perfume para ocupar más espacio”,
“Version animeé”. Centre Pour L’image
“Choose
1”.
Forgotten
Bar
Project.
Museo Carrillo Gil, Mexico City
Contemporain, Geneve
“Berlin
Zoótropo”.
7
proyectos
de
animación.
“Amplificadores - A Outra Vertigem”, Museu
“Prevailing Climate”. Screening program, Sara
Museo de Arte Moderno. Mexico City
Murillo La Greca, Recife, Brazil
Meltzer Gallery, New York
“Zeichen
unterzeichnen”.
artTransponder.
2008
“VideoZone 3”. The Center for Contemporary
Berlin
“Fuck you human”. Maribel Lopez Gallery.
Art. Tel Aviv
Berlin
2007
“Media City Seoul 2006”. The fourth Seoul
“Guangzhou Triennial”. Guangdong Museum “En perfecto desorden”. Museo Nacional Reina
International Media Arts Biennale. Seoul
Sofia.
Madrid
of Art. Guangzhou
Museum of Arts. Seoul
“STUK
START”.
STUK
Artcenter.
Leuven,
“Panorama da Arte Brasileira”. Museu de
“Contemporary Video Art from Brazil”. Galerie
Belgium
Arte Moderna. Sao Paulo / Sala Alcala 31,
Adler, Frankfurt
Madrid.
“Geopoliticas de la animación”. Centro
“NTSC-MX-PAL conversiones de
Andaluz de Arte Contemporaneo. Sevilla
“Proyecto Cívico”. CECUT. Tijuana
videos.” El Instituto de México en España.
PHOTOESPAÑA 2006, Madrid d/Lux/
“FACE
UP”.
Galerie
Adler,
New
York
“I/Legítimo”. Paço das Artes, Sao Paulo
MediaArts’ annual showcase of international
video, mobile and web art. (VideoBrasil Festival
“The
Most
Curatorial
Biennial
of
the
“One of these things is not like the other
Videos). The Studio, Sidney Opera House,
Universe”.
Apexart,
New
York
things”. Unosunove Arte Contemporanea.
Sidney
Roma
“Curacion Geometrica”. The Reliance, London
“Eastern Alliance 3 Teledivision Show”. Muzeul
“Glorieta”. Muestra de video sobre la ciudad.
“The Culture Clash”. Working Rooms
Group Exhibitions
National de Arta Contemporana. Bucarest
México
“Still Beauty”. Center of Contemporary Art
Zamek Ujadowsky. Warsaw
“Sábados 2004”. Ficción en vivo. Parking Lot in
Mexico City’s Centro Histórico
“Tinta”. Galeria Leme, Sao Paulo.
2003
“Fraternidad Bondarchuk”. Galería Art & Idea.
Mexico City
2005
“Inscriptions murales”. Piano Nobile. Geneve
“Come Closer”. Kunstlerhaus Bethanien,
Berlin./ Isola Art Center, Milan / Piano
Nobile, Geneve / Indice Espacio, Mexico City
“Festival da Arte Electrónica VideoBrasil”
(15 Edition). SESC Pompeia, Sao Paulo
“El sutil vértigo de la imagen”. Fotografía y
video-arte latinoamericanos. Galerías del
Centro Cultural Parque de España. Rosario,
Argentina
“I am he as you are he and we are all
together”. Central de Arte, Guadalajara,
Mexico
“Matemática Moderna *” (video Olinda
Celeste, made in collaboration with Lucia
Koch). Galeria Casa Triangulo, Sao Paulo.
“Contiene Glutamato”. Galería OMR,
Mexico City
2004
“Lactumen”. Espacio e21, Cuernavaca,
“Reversible”, foro sobre arte en espacios
públicos. Intervención en el periódico El
Independiente. SAPS, Sala de Arte Público
Siqueiros. Mexico City
Events and Performances
Other projects
2012
“Cinema sincopado”, ex-prision at Karl
Marx Strasse, Berlin, as part of the “Osmotic
impulses” exhibition.
Olinda Celeste, animation made in
collaboration with Lucia Koch, exhibited
in her solo show Matemática Moderna in
Galería Casa Triángulo, Sao Paulo (June 2005).
2010
“The lecture that turns into a party”.Yerba
Buena Center for the Arts, San Francisco,
USA (Dec. 7th)
2009
“Hexagonal Hackers”. Bielefelder
Kunstverein, Bielefeld.
2001
“Retrato”. Galería Laalvaca. Puebla, Mexico
Enviado del Profeta. Performance at Galería
Laalvaca, Puebla, Mexico
“Quorum Power”. Centro de Arte Dos de
Mayo, Madrid.
2000
“Supermodernismo (improvisado)”. X-Teresa
Arte Actual. Mexico City Re-Visiones. Galería
La Esmeralda. Centro Nacional de las Artes.
Mexico City
“Marathon-II”. Fundación Sa Nostra,
Mallorca.
1999
“El Último Lustro - 36 artistas jóvenes del
Perú”. Centro Cultural Ricardo Palma.
2008
“Quorum Power”. Maribel Lopez Gallery,
Berlin.
“Lima Concurso Arte Joven”, Sala Luis Miró
Quesada Garland. Lima
“Quorum Power”. Working Rooms. London.
“Hexagonal Hackers”. MACBA, Barcelona.
“Quorum Power”. Museo de Arte Carrillo
Gil, Mexico City.
“Marathon-II”.Y Gallery. Queens, NY.
“Ésta sí es la última”. Centro Cultural Ricardo
Palma. Lima
“Marathon-I”. Galeria Leme, Sao Paulo.