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Paradero Exibition at Galería Lucía de la Puente.

Our partners, Galería Lucía de la Puente, will be holding a really interesting exhibition. Some of the artists that have art pieces in this exhibition have art pieces in the hotel too, just as Abel Bentin and Haroldo Higa. This exhibition is the perfect gate to Peruvian contemporary art scene. Free guided tours to the Gallery are offered to our guests and these tours are done by art experts and people working for the Gallery. B Arts Boutique is the perfect hub for a complete and deep introduction to art and culture.

This show exhibits, on one side, the work of 10 Peruvian artists that make use of elements of popular culture to create their speeches and to talk about it and on the other hand, explores contemporary art procedures to interpret current culture.
To say of the curator, Carlo Trivelli, since the outbreak of popular culture in art spaces since the 1950’s, this has become a sort of second nature to contemporary art. In that sense, it seems logical to argue that the various manifestations of popular culture now occupy the place that once had nature and history as universes of meaning on which artistic discourses are made.
Paradero proposes looking at a contemporary art inspired and influenced by the universe of the popular. The celebration, criticism or appropriation of this, reveal a charm and even a tenderness beyond the questions or reading between the lines that these works involve.
The show is presented as a crossroads, a meeting place – a bus stop (paradero) - between the display of specific strategies of contemporary art and the reflection of our cultural background.
Haroldo Higa plays "I love Lima" one of the most widespread common places of spontaneous tourist merchandising. Based on the much publicized "I love NY" (repeated in local versions in many cities of the world) the slogan take, however, a different aspect in the work of Higa: black color reverses the joyful celebration of the slogan and the disposable material used made this piece giving a false ornament to the graphic elements that accompany the letters.
Alberto Borea brings to the gallery body sections vans. The context of the gallery proposes upon them an aesthetic look and museographic, that turns them into documents of our popular aesthetics and of the modes that are assumed in modernity and urban culture in our country. A look of aesthetic claim and at the same time of critism of informal public transport.
Eduardo Hirose offers a documentary look at the margins of urban life in our country. His photographs speak, about the construction, as an image of growth and advancement of life - healthy – and at the same time – precarious - and on the other, the cult of the dead. Curious communicating vessels established between both subjects.
Diego Lama presents a piece that is, in a way, part of the curatorial discourse of the show. Texts carved in transparent acrylic which overlap to give a beautiful , and so eloquent metaphor of overlapping speeches about the country. The 'depth' of the text and its 'transparency' serve as a metaphor for the way in which the imagery about the national is being built.
Ivana Ferrer, returns to one of the main themes of her work: how food, in this case sweets from a market stand, tells us about how industrialized is consumption and fantasy. Far from the paradigm of natural and our relationship with the earth as means of livelihood, this image tells us about how artificially is the sweetness, that we eat every day.
Alice Wagner invents a new visual language through the use of floats and inflatable toys. In his work, reveals what we might call the dark side of fantasy of the market, of the fair or of the children's party: a world that is deflating, which melts and loses its roundness and brilliant colors, to leave us with a close image of the enigma of disturbing lost fantasies.
César Cornejo presents a series of sculptures that add to the development of his project Puno MoCA, his contemporary art museum in Puno. In this work, Cornejo explores the idea of the art museum and presents both a critical view of its central character, almost religious and associated with large cities while offering an alternative participatory, communal and at a low cost that makes him not sign of development, but an engine for the same. This tension is expressed in these small format pieces which amalgamate the house of Puno under construction with dreams of a Guggenheim Titicaca.
Miguel Aguirre presents two pieces in this exhibition. In the first, takes the idea of certain ludic stickers from the eighties that comic coded reworked logos, slogans and isotypes of known brands, with a reproduction of the “Ikea” logo that the brand name has been changed to "idea ". All this, however, is played by a weaver of San Pedro de Cajas in a traditional technique, which gives a twist to the job and does it allusive to the appropriation of the modern and cosmopolitan for the traditional way.
The second piece is formed by a set of small format racks that have been covered with a plastic cloth simulating a vine. Disposed on the wall in a manner similar to that used for arranging the tiles in kitchens or bathrooms such that a design is concatenated from one tile to another, the racks, the usual support for paintings, become other vehicle of illusion, a more domestic and industrial, but illusion anyway.
Fernando Gutiérrez/Huanchaco working on an installation project in which, from certain specific elements of our material culture, explores the resonances of nationalist discourse.
Abel Bentín works sculptures which stage the illusion that offer us advertising discourse and globalized consumer world. It's the only look that does not focus on what we might call the local culture. But that itself is a wake up call to how cultural phenomena can cross borders worldwide. Close observation of all other work included in the exhibition will see to what extent the local popular culture themes and motifs weaves global circulation.

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