(March 7 - April 12, 2013)

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Mixta. 20 x 350 x 10 cm.
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INTROSPECTIVE EXHIBITION OF DRAWINGS AND INSTALLATION BY ESTHER VAINSTEIN. ENLACE ARTE CONTEMPORÁNEO Gallery (Av. Pardo y Aliaga 676, San Isidro) announces the opening of the solo exhibitionLATIDO DE ARENA by ESTHER VAINSTEIN, next Thursday, March 7 at 7.30 p.m. The show consists of six large works made with drawing and mixed techniques, with two installations. These works signify and arise from the artist’s sensations after returning from Nazca, having once again experienced this site after many years. This event revived a deep-seated enthusiasm and desire to work, to recommence, to once again use those sands, that heat, that womb as an origin and home, that spectacle of Nazca’s landscapes and environs, Cahuachi, La Estaquearía… In short, the “desert” as a whole. In this show, well aside from each work on its own, Nazca is a whole in each one of these pieces’ nuances, details, and minutia. It is a perpetual and undying renewal and rebirth. Coincidentally, the way the artist has proceeded or operated here corresponds to that feeling and palpation. Her technique is a continuous and reiterated submission to a medium, a material, to the same cycle or manipulation in order to augment its effects, resulting in an intensification and in-depth exploration of the material and the very spirit thereof. Esther Vainstein (Lima, 1947), a multidisciplinary artist, studied at the Escuela Nacional de Bellas Artes in Lima and in Cristina Gálvez’s workshop, as well as studying film with Armando Robles Godoy. She has held fifteen solo shows. In 2007, the Instituto Peruano Norteamericano (ICPNA) of Miraflores exhibited "Ofrendas de Barro y Viento / Cadencia y variaciones 2007" (“Offerings of Clay and Wind / Cadence and Variations 2007”), an overview of her work covering the period between 1983 and 2007. In 1987, the Museum of Contemporary Hispanic Culture of New York presented her solo show "Paracas: Sculptures and Drawings," comprised of installations. She took part in the XVII and XIX Sao Paulo Biennales in Brazil (1983 and 1987, respectively); as well as the I and III Havana Biennales in Cuba (1983 and 1989, respectively); the V Art Biennale in Maldonado, Uruguay (1982); and the IV Art Biennale in Cali, Colombia (1981), where she won the Drawing Prize. She exhibited her work at the II Biennale of Trujillo, Peru (1985); at the I and II Ibero-American Biennales in Lima, Peru (1997 and 1999, respectively); and at the V Art and Business Biennale of COSAPI "Contemporaneidad del arte Chancay" (“Contemporary Takes on Chancay Art”) at the Museo de Arte de Lima (1998). Her drawings, sculptures, installations, or videos have formed partof the following exhibitions, among others: "Propuestas II" (“Proposals II”) at the Museo de Arte Italiano of Lima (1982); "Jóvenes artistas peruanos" (“Young Peruvian Artists”) at Casa de las Américas, Havana (1983); Museo Solidaridad con Nicaragua in Managua (1983); and "Peruvian Roots in Contemporary Art" in Caracas and New York. Her work is held in the collections of the following institutions: Museo de Arte de Lima, Peru; Museo La Tertulia in Cali, Colombia; Museo de Arte de Maldonado, Uruguay; Museo Solidaridad con Nicaragua, in Managua; Centro Wifredo Lam, Havana, Cuba; and Fondo Andino de Reservas. "In the 1980s, the context of violence marked the works of some of Peru’s most remarkable contemporary artists. Among them, Esther Vainstein stands out head and shoulders above the rest for her vision, her intention, and her boldness. Her work in the field of installation—that extension of the sculptural that undertakes the creation of total spaces—responded fully to a cultural demand perceived in that historical context: to invoke and depict, through evocations and spatial explorations, an aesthetics of the territory that linked the Andes with the desert. For such purpose, however, she wasn’t afraid to also make use of drawings, video, painting, and sculpture. For the artist, above and beyond the medium used, there is the concept of a very particular meaning: her work forms part of a movement in conceptual art in which a poetics of the “vehicle” frequently make use of transformed contents originating from archaeology, anthropology, physical geography, cartography, and other scientific disciplines. The territorial connection that Vainstein has explored ever since involves an artistic challenge for the present: to work persistently within a perspective of valorization and combination of materials, able to awaken new interpretations thanks to the inflection that the artist introduces into each situation, one that is always acute, profound, and specifically cultural. This, in the field of the visual arts, continues to have an unusual effect. Over the course of three decades, Vainstein has pursued the sources, the keys, the discoveries that enable her to articulate fragments of a fiction of a symbolic order, whose intensity reveals the national through the convulsions and generosities of time.” (Jorge Villacorta Chávez, May 2010). The exhibition may be viewed through April 2, from Monday through Saturday, 11:00 a.m. to 8:00 p.m.No entry fee.