Intimidad
Memento Amori
comisariada por Mijail Mitrovic
Vanessa Karin crea un imaginario gráfico post-púber y pre-erótico (con guiño de foreplay) que opera como un ideario político-romántico de cara a la sexualidad.​​
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Finalmente, Pierina Másquez aborda la subjetividad como el encuentro entre el deseo y el capitalismo tardío, vista desde los sueños y pesadillas del consumo y los anhelos (románticos, estéticos, sociales, etc.) que moviliza.
Los ocho artistas reunidos nos lanzan al encuentro —impredecible, indeterminable, irreductible— con la obra de arte, asumiendo abiertamente los límites de la comunicación: sus fallos y sus desbordes, como el malentendido, la sobre-codificación, la sobre-interpretación, o la entropía de la información.
Es por ello que “Sorry Not Sorry” asume que importa menos lo exitoso o fallido del encuentro con la obra de arte (no porque no se crea en el valor de estas obras y en las apuestas de estos artistas, sino porque no hay cómo garantizar dicho encuentro), y lo que realmente hay que tomar en cuenta es que el reto planteado por los artistas sea postulado asumiendo abiertamente ese riesgo: sin arrepentimientos.
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Max Hernández Calvo
Diferente Querer
Animación
2021
It is an intimate reflection on the first sexual and emotional encounters between women, where desire is not ordered according to the traditional structures of romantic love, but flows from instinct, the body, and the search for shared pleasure. Animation here becomes a territory of sensory, emotional, and political exploration, celebrating lesbian desire without guilt, without a final destination, without needing to justify its existence beyond enjoyment.
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This work does not seek to answer the question of how one should love. Rather, it opens the possibility that love—between women, born of desire, of instinct—can be different, multifaceted, and profoundly legitimate.
Diferente querer (Different Love) was conceived as a digital work, initially intended to circulate within the virtual group exhibition “Antiviral: Recent Peruvian Video Art,” curated by Max Hernández Calvo.
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Later, it was presented in “Flirty Cry Baby,” Vanessa Karin’s first solo exhibition at the Ginsberg Gallery, also curated by Max Hernández Calvo. As an installation with three screens, each screen displayed, at intervals, the three animations that comprise Diferente querer.
“different love, different love, and different love”
The screens displayed “wanting differently, differently, and wanting differently,” starting from the right and moving to the left, mimicking Japanese reading, which is the opposite of Western reading.
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Wanting Differently: recounts the personal and terrifying discovery of becoming aware of wanting/desiring another woman within a Catholic context.
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Different: was a nod to the bodily changes during puberty, specifically menstruation, and the emergence of physical desires.
Wanting Differently: depicted the “different kind of wanting,” that is, seeking to satisfy sexual desire rather than emotional needs. Therefore, it wasn't a sexual or emotional “wanting” but rather a desire related to the purely sexual.