rita ponce de león - 80m2 | LIVIA BENAVIDES


rita ponce de león - 80m2 | LIVIA BENAVIDES
Prolongación San Martín 10 Barranco
Lima, Perú
(51-1) 252 9146
[email protected]
Works presented at Liste Art Fair
June 17-22, 2014
Solo Show
A place for the breeze (Un lugar para la brisa)
These drawings and objects allow me to think about those
subtle limits amongst being oneself and the possibility of being
in someone else’s position; about the possibility of a symbiosis
between body and space as a way towards openness; even
an overlapping of what is inside and outside (some of these
become close to). Openness implies a merger or even a
confusion of human and non-human.
The hanging objects, looking similar to the wind cones which are
used at airports, invite people to interact with them, taking them
from the wall and making them move. Thereby, these objects
prints showing the image of an opened hand, printed on a very
thin paper, begin to move when someone walks nearby as if the
image of the hand was stroking the subtle air currents into the
Solo Show
A place for the breeze (tunnels)
70 x 50 cm.
US$ 5,200 + tax
A place for the breeze (three as one)
Silk, leather and Steel structures
140 x 34 x 24 cm
US$ 7,500 + tax
A place for the breeze (one as one)
Silk, leather and Steel structures
140 x 90 x 68 cm
US$ 7,500 + tax
A place for the breeze (one as no
Silk, leather and Steel structures
120 x 104 x 36 cm
US$ 7,500 + tax
Endless openness produces circles
Kunsthalle Basel
Endless openness produces circles
rope of the artista Rita Ponce de León (1982), a native of Peru now living in Mexico.The show
has been realized in close collaboration with the Mexican architect Pablo Pérez Palacios (1980).
Conversations with her friends and acquaintances form the point of departure for many
circles at the Kunsthalle Basel. The Wall drawings in the main gallery are likewise base
don drawings executed following this principle. The emphasis of the conversations which
Ponce de León records i son subjective feelings, opinions and interests as well as on events
of personal relevance and importance to the respective conversation partner. The artist’s
chief concern is to develop something in which she already shares. Taking her recording
and the texts she has written about the conversations as her orientation, her next step,
therefore, is to analyze not only her vis-à-vis’s utterances but also her own, and to transformo r translate them into visual sketches, und thus to reinterpret them. The subjective
artistic process, turned into drawings. The act of drawing itself, which she describes as the
ploration not only of text but also of the experience of relating to the people she knows.
However, Ponce de León’s interest in Butoh focusses primarily on the experience of life, and every single element of it, with the humen body. Th so-called
“dance and darkness” and “dance of death” were early forms of Butoh developed
by artists such as Tatsumi Hijikata (1928-1986) or Kazuo Ohno (1906-2010) in
order to achieve a new form of dance by metaphorically opening the body and
using it as a means of expression. Whatr appeals to Rita Ponce de León about
this type of dance theatre is the mode of commonality among the participants.
When one spends time with people, one also shares a space with them, breathes
the same air, and used the same objects. A dialogue ensues even bedore one endepicting “togetherness”, “co-existence”, and how people deal with it. The imposing
suggests precisely the kind of openness intended to come about here – an openness between the visitors and the Works, and between the Works themselves. The
exhibition architecture, created in collaboration with the architect Pablo Pérez Palacios, makes only minor changes to the room, but points all the more insistently to
those changes. The focus of this collaboration was on further opening up the space,
and on linking the three romos to make them perceivable as a single open space
Fort he artist, it is the underlying friendship that forms the most important aspect of her interest in visualizing conversations. The unique element of sincerity and truth is what inspires her. And it is precisely that which can also be understood as the social elemnt – or social point of departure – in Ponce de León’s art.
This entire process, however elaborate it may seem, procedes on the assumption that
pictures are capable of communicating something real if they are base on genuine life
experience, on knowledge that has been generated by experience. That is also the reason why the artista has been studying Butoh, a form of Japanese dance theatre, for quite
some time. Since the late sixties, dancers and dance theatres in Japan have been devoting
responds to the existing masonry Wall and turns i tinto the room by 18º. The gesture is simple, the effect disconcerting. The entire reality od the rectangular space is
altered, and with it the visitor’s perception of the room and, naturally, him or herself
and his or itself; now one enters the actual space twice. Further transformation of
the space is achieved by connecting the lines running across the gallery walls with
angular metal structure expanding from the main gallery, through the doorway, into
the adjoining space.Thus, the main space is literally “drawn” into the one that follows.
worldwide – envolved as a gesture of resistance against a certain Western dance culture
with its focus on pure individual expression and entertainment, but also against rigid
base don small scale drawings by the artista and makes reference to people she knows,
pean currents such as Viennese Actionism. Primarily between the years 1962
and 1970, with protagonists such as Otto Muehl and Hermann Nitsch, the latter movement sought to counter the repressive circumstances in society with
forceful performances that involved extreme forms of work with the body.
Which point of you is actually mine? (2014) is the title of theWall drawing and sculptural
The people in question are not necessarily part of her everyday surroundings, but also include acquaintances from the past. Details such as hairstyle,
for example, might be completely out of date but are nevertheless corpicted, nor is that the artist’s concern. The idea of the visual transformation of experiences and memories, described above, here becomes tangible.
us. Whereas this work illustrates the gaze takes shape: Me-something (2014), a negative
oval-shaped relief roughly the size and shape of a human face exhibits no details whatsoever. The point, rather, is irritation of perspective, and to have the viewer perceive the
room and enters a realm of one’s own. And metaphorically speaking, the mask affords
a view of the Kunsthalle courtyard outside, and thus once again opens up the space.
The series of drawings executed for the show at the Kunsthalle and now displayed in gallery 11 is entitled A Change Of Mind Serves To Advance An Honest
(2014). Rita Ponce de León sees these Works precisely as the visualizations of experiences realized very emotionally and intuitively with the drawing médium. Once
again, openness is suggested by leaving the drame open at the top of each drawing.
installation in the last room of the skylight gallery, plays with exactly this idea of inopenness the artista here endeavours to address. The construction of two large intersecting aluminium frames protruding outside the window in the last gallery is mirrored inside the gallery by similar frames extending from the window. The “door-window” thus multiplied also multiplies the views one can experience, and elaborates
openness of the window as such. The visitor is moreover invited to change the
frames position inside the gallery and thus to modify the view from the window.
de León employs a médium that sketches, outlines and despicts to record subjective and collective experiences and memories and transform them into a discussion
of how we are shaped by our experiences. She thus gets to the core of what characterizes our co-existence. The combination of the “light” médium with an equally
“discreet” exhibition architecture invites the Kunsthalle visitors to involve and integrate themselves, to connect with their vis-à-vis, to give their emotions full scope, and
Fabian Schöneich - 2014
Which Point of view is actually mine?
Dimensions vary according to installation site
US$ 21,000 + tax
Which Point of view is actually mine?
Dimensions vary according to installation site
US$ 23,500 + tax
25,5 x 25,5 cm
Detalle de Dibujo
Detalle de Dibujo
Detalle de Dibujo
Días enteros con los ojos cerrados
A line of wire that suggests a path, a series of structures that beside framing the empty space between them, contain drawings, projections
“During the last couple of years my work has slowly turned into a bonding experience with others; open conversation and written testimonies
have been my primary source to produce images and propose ways to approach them,” signals the artist.
being connected to space, its air, and to everything that inhabits it.
space, a person and the elements of nature. Butoh dance, an important reference for the artist, indicates that converging is facilitated when
we recover “the body that has been stolen from us” by being conscious of our contact with others. The simple exercise of closing ones eyes,
en el suelo, Museo de Arte Moderno, Mexico City, 2012; and He decidido bifurcarme, Centro Cultural Border, Mexico City, 2011. Ponce de
Días enteros con los ojos cerrados
Sección 3
un video en loop de 21 seg.
Dimensiones variables
US$ 13,500 + tax
Vista lateral de la instalación
Detalle de la instalación
Vista de detalle con video
Detalle de un módulo
Still de video
Días enteros con los ojos cerrados
Sección 2
un video en loop de 2 min. 36 seg.
Dimensiones variables
US$ 13,500 + tax
Vista frontal de la instalación
Vista de detalle con video
Detalle de un módulo
Still de video
Tinta china sobre papel de algodón.
65 x 65 cm.
US$ 5,200 + tax
Serie de 32 dibujos
Tinta china sobre papel de algodón
24 x 32 cm
US$ 25,500 + tax
Dibujo en acrílico sobre disco de MDF y escalera de madera y MDF, cables
de acero
200 x 240 x 240 cm
US$ 13,500 + tax
Expuesta, 2012, Universidad de Arte de Braunschweig,Alemania.
Video HD
2 minutos, 6 segundos (en loop)
US$ 7,500 + tax
Video realizado en colaboración con la cineasta Laura Alderete. Fue colocado
en un Ipad que se encontraba inserto en el muro junto a los murales.
El reverso de un Puño
Serie de 25 fotos
24 fotos de 8 x 8 cm.
1 foto de 8,5 x 15 cm.
US$ 7,500 + tax
8 x 8 cm.
8 x 8 cm.
8 x 8 cm.
8 x 8 cm.
8 x 8 cm.
8 x 8 cm.
8,5 x 15 cm
Rita Ponce de León Salazar
Lima, 1982.Vive y trabaja en México.
Exposiciones Individuales
Exposiciones Colectivas
Artes Plásticas en la Escuela
Nacional de Pintura, Escultura y
Grabado ¨La Esmeralda¨, México
Fundación Miró, Barcelona. España - dic
“Small.” - Drawing Center, Nueva York. Estados
Unidos. Curated by Claire Gilman, Curator, and
Joanna Kleinberg Romanow, Assistant Curator.
Universidad Católica del Perú,
Lima, Perú.
Filosofía en el centro de Estudios
Universidad Católica del Perú,
Lima, Perú.
Endless openess produces circles. Kunsthalle
Basel, Suiza
“David”, Sala de Arte Público Siqueiros.
México D.F.
Sights and Sounds - The Jewish Museum. NY
“Envíos”. 80M2 Livia Benavides, Lima
Bienal de Gwangju, como parte del proyecto “Tin
Soldiers”, publicación y exhibicion presentadas por
Ala Younis, Corea.
“Hasta Mostla”, Centro Cultural España, México
“¿Y si volvieran todos? Migración- Remesas:
Bienal de Cuenca, Cuenca. Ecuador
Fundación Telefónica, Lima, Perú.
“Coordillera”, Galería 80M2 Livia Benavides,
Lima, Perú.
“Endless openness produces circles”, Kunsthalle
Basel, Basilea. Suiza.
“Piso porque creo en el suelo”, Museo de
Arte Moderno, México D.F.
“Es todo gracias a ti”
12º Trienal de Fellbach, Alemania..
“He decidido bifurcarme”, Centro Cultural
Border, México D.F.
”Sólo quiero el universo”, Espacio Mexicano de
la Embajada de México en Tokyo, Japón.
“Necesito Dormir Cómics”,Vértigo, México
“Materia sensible”, Museo de Arte Carrillo Gil,
México D.F.
“Acepto que nada es mío”, Galería 80M2,
Lima, Perú.
“The Mystery of Instersecting Paths”, Galería de
la HBK, Braunschweig, Alemania.
“Sólo quiero el Universo”, Encuentro de Agentes
del Arte Contemporáneo, Centro Cultural Tijuana,
Baja California, México.
“Radiografías del cómic”, Instituto del Derecho de
Asilo, Museo Casa de León Trotsky, México D.F.
“Radiografías del cómic”, galería de la Escuela
Nacional de Pintura, Escultura y Grabado ¨La
Esmeralda¨, México D.F.
“The Ungovernables,” Trienal en el New Museum,
Nueva York, Estados Unidos.
“The Mistery of Intersecting Paths”. Universidad
de Arte de Braunschweig, Alemania.
Exposiciones Colectivas
“Numina Femenina”, Consulado General de México,
San Francisco, Estados Unidos.
“Coleccionables”, Centro Cultural Border.
“El acoso de las fantasías”, Casino Metropolitano, México
Ganadora de la beca del Programa Jóvenes
Creadores 2012, del Fondo Nacional para la
Cultura y las Artes de México.
“Crossroads”, Sala de Arte de la UABC, Tijuana, México.
Selección para Vitamin D2, Phaidon Press,
“Miradas sin coordenadas”, 80M2, Lima, Perú.
“El tiempo devora a sus hijos”, Central Art Projects,
Mexico D.F.
“Bearsation”, Museo de la Ciudad, Cuernavaca,
Morelos, México.
“Esto es aquello”, Arróniz Arte Contemporáneo, México
“Las Rutas del Cuerpo”, Centro Cultural Border,
México D.F.
“Better than sex, better than Disneyland”, Galería Ramis
Barquet, Nueva York, E.U.A.
“Islas”, Casino Metropolitano, México D.F.
“Draw”, Museo de la Ciudad, México D.F.
Edición de múltiples, el 52 al cuadrado, OMR, México
“Edición de múltiples”, el 52 al cuadrado, OMR,
México D.F.
“Balastras”, Anexo de La Refaccionaria, México D.F.
“La Esmeralda”, Casa Frissac, México D.F.
“Lápiz HB”, Pegol Diseño, México D.F.
“Dónde y cuándo,” Centro Cultural Border, México
“Intermex”, Drama, Lima, Perú.
“The Misfortunes of virtue”, Co-Lab, Dinamarca.
Lima, Perú.
“Dibujo, nuevas propuestas”, 80M2, Lima, Perú.
“Arte sin Argollas”, Centro de Lima, Perú.
Pre-selección para Future Generation Art
Prize,Victor Pinchuk Foundation.
Pre-selección para Rolex Mentor and Protégé
Arts Initiative.
Selección para el Catálogo de Ilustradores
Infantiles y Juveniles, CONACULTA, México.
Premio Adolfo Winternitz en la especialidad
de pintura.
Colaboraciones y asistencia
“¿Y qué si la democracia ocurre?”, publicación
que acompaña la exposición del mismo
nombre, editada por Miguel López y Eliana
Otta, Lima, Perú.
“The Ungovernables”, New Museum, catálogo
de la Trienal del New Museum de Nueva York,
Estados Unidos.
Autor: Roger Bartra. Editado por el Instituto
Nacional de Antropología en Historia (INAH)
y el Fondo de Cultura Económica (FCE),
Necesito Dormir Cómics, Nudo en el Aire /
Nudo en el Agua, auto-publicación, México.
Cuete, Editorial Contracultura, Perú.
“Cuete”, Editorial Contracultura, Perú.
Draw, catálogo de la exposición, Museo de la
Ciudad, México.
Venus Ataca, diez historietistas peruana,
Editorial Contracultura, Perú.
“Galleta China,” revista producida por Casa
Vecina, México.
Dibujos para Autoconstrucción: el libro,
RedCat, E.U.A.
Gregoria La Cucaracha, 13 cómics producidos
por el Centro de Investigación y Producción
de la Imagen, Universidad Autónoma de la
Ciudad de México, México.
Dibujos para Tomo No 1, suplemento de
arte y diseño del periódico Excelsior, México.
Ilustraciones para Rock, my religion de Dan
Graham, Editorial Alias, México.
Necesito Dormir Cómics - Un poco de fruta,
auto-publicación, México.
Dibujos para la Revista Tierra Adentro No
136, Ediciones Conaculta, México.
Obra en colaboración con el artista japonés
Chikara Matsumoto, realizada en Tokyo,
Imágenes y textos para el libro y exhibición
Tin Soldiers de Ala Younis, Jordania-Corea.
de Adrián
Kurimanzutto, México D.F.
Asistente de Dr. Lakra para la exposición Dr.
Lakra, Kurimanzutto, México D.F.
Storyboard para Autoconstrucción, El libro,
Abraham Cruzvillegas, RedCat, E.U.A.
Asistente de Gabriel Orozco para la
exposición Gabriel Orozco, Kurimanzutto,
México D.F.
Asistente de Dr. Lakra para la Trienal
Caribe, Puerto Rico.