私からあなたへ
シンビオシスで展示された『De Mi para Ti』シリーズのインスタレーションビュー。
貪欲な欲望:
欲望の行動を象徴する
アーティストが自分の体を探求する作品には、不安をかき立てる輝きが現れます。彼らの作品には、彼らの体をしばしば非難してきた言葉を正当化しないという強烈な欲望によって支配される独自の跡（印のようなもの）があります。彼らが今発見するのは、この性的な存在が、快楽との最初の出会いから内面に存在しており、今では完全に彼らのものであるということです。それは、誰のものでもなく、自分自身のものであり、体を使うという切実な欲求から生まれた地上的で個人的な快楽です。それを使うこと。それを深淵に導き、押し込んでみること。私たちは歪んだ、捧げられ、曝け出された体を目にします。そこからどんな病的な欲望を引き出すことができるのでしょうか？ この展示に参加するアーティストたちは、共通の前提から作品を始めています。それは、彼女たちの感情の親密な記録です。Luna Dannon（ルナ・ダノン）は、欲望と恐怖という二重の力を作品に緊張感を与える要素として扱っています。彼女は自分の体験を外科的な精度で解剖することを許し、自らの反映を感情的なアーカイブとして作り上げています。Vanessa Karin（ヴァネッサ・カリン）は、セクスティングの非物質的な性質を具現化し、デジタルなヌードを芸術的なオブジェクトに変えています。彼女の作品は、儚い画像の時代における親密さを問い、これを永続的な残留物として再定義しています。Julieta Glasserman（フリエタ・グラッセマン）の夢幻的な風景では、セクシュアリティと不安が交錯し、彼女の作品は恐怖や心配を不安な美しさを持つシーンに変換し、彼女自身の体がその精神の視覚的な日記となっています。 彼女たちは、この体が本当に探求するものであるのか、それとも触れられない神殿であると彼女たちに言われているだけなのかを問い直します。深層に触れることへの本能的な好奇心が生まれます。なぜ開いて解剖しないのか？それをすることで、彼女たちの欲望を自らの視線で、迫害的で特に独自のものとして扱う遊び心ある自己表現が現れます。社会的に私たちを貫くその視覚的衝動は、今やアーティストたちの手に渡り、彼女たちはそれを同時に対峙し、魅了する作品に変換します。 Leonor Silvestri（レオノール・シルヴェストリ）は快楽を塹壕として語り、その場所では欲望が道徳や解放の期待に屈することはありません。これらの作品では、その快楽が歪められ、隠され、観客に挑戦として提示されます。それは理解されるためではなく、感じられるために存在します。欲望は、ここでは他人の視線の前で間違った体として現れる苦悩を通り抜け、切り裂かれ、進んでいきます。Luna Dannon（ルナ・ダノン）は、体が自らを支配しようとするイメージを構築し、体を包み込むものと体を溢れさせるものとの間で絶えず緊張を生み出しています。Julieta Glasserman（フリエタ・グラッセマン）は、体を終わりのないトンネルの入り口として提示し、そこには私たちの恨みが宿り、エロティックなイメージが触覚的かつ物質的な次元で保存されています。Vanessa Karin（ヴァネッサ・カリン）は、体が変異した生物となり、壊れやすさと怪物的なものとの間を揺れ動く、夢の後の空間に私たちを導きます。 アーティストたちは、自らの断片をキャンディや儚い贖い物のように捧げます。ほんの一瞬、彼女たちの体は日常を離れ、急いで曝け出されます。それらは、ユートピア的でありながらディストピア的な世界で夢見るように揺れ動きます。これらの空間は、解放の言説が誇らしげに語られる一方で、欲望が溢れる新たな規範を再生産してしまうという矛盾を内包しています。しかし、アーティストたちは既存の物語に収まることを求めていません。彼女たちは道徳的な解決策や明確な主張を提示するのではなく、私たちに進行中の、危機的な、そして遊びの中にある体を見せます。それは、新しい体の理想に向けた儀式的な導きです。私たちは鏡の前で歪むことを促され、そこで欠如をなでる必要が自己表現の形となり、不快感が欲望を抑える方法となる場所が生まれます。 Macarena Puelles（マカレナ・プエレス）
Vanessa Karin creates a post-pubescent and pre-erotic graphic imagery (with a nod to foreplay) that operates as a political-romantic ideology regarding sexuality.
Finally, Pierina Másquez addresses subjectivity as the encounter between desire and late capitalism, seen from the dreams and nightmares of consumption and the (romantic, aesthetic, social, etc.) yearnings it mobilizes.
The eight gathered artists launch us into an encounter—unpredictable, indeterminable, irreducible—with the work of art, openly assuming the limits of communication: its failures and its overflows, such as misunderstanding, over-codification, over-interpretation, or the entropy of information.
That is why “Sorry Not Sorry” assumes that the success or failure of the encounter with the work of art matters less (not because one does not believe in the value of these works and the artists' bets, but because there is no way to guarantee such an encounter), and what truly must be taken into account is that the challenge posed by the artists is postulated by openly assuming that risk: without regrets.
Max Hernández Calvo
シンビオシスで展示された『De Mi para Ti』シリーズのインスタレーションビュー。
シンビオシスで展示された『De Mi para Ti』シリーズのインスタレーションビュー。
Exhibition Overview: Sorry Not Sorry
As part of its 25th-anniversary celebrations, the Pontificia Universidad Católica del Perú Cultural Center (CCPUCP), in collaboration with the BBVA Foundation, presented the group exhibition SORRY NOT SORRY: Positions, Dispositions, and Oppositions. Opening on October 24th, the showcase brought together eight artists whose work is decidedly contemporary, embracing a diverse range of media, materials, and disciplines to provide an "attitudinal census" of the recent local art scene.
About the Exhibition This exhibition gathered eight artists who share an exploratory and lighthearted approach to artistic labor. Their practices are defined not by a singular visual style, technique, or theme, but rather by their methodologies, processes, and the specific creative risks they take.
Sorry Not Sorry displays a spectrum of discursive, theoretical, and behavioral positions and oppositions regarding both art and the world. These perspectives are manifested in the ways the artists conceive the work of art and imagine the possible bonds formed with the public.
As part of the exhibition, a special newspaper was published featuring in-depth interviews with each participant. The following text is the English translation of the interview with Vanessa Karin, where she discusses her "post-pubescent and pre-erotic" imagery and its role as a political-romantic ideology regarding sexuality.
VANESSA KARIN
1. Why do you find making art relevant?
By creating a work, memory is encapsulated, and one can reflect upon it. Specific moments become recorded. Furthermore, the public can empathize with the artist and her way of processing her environment, perhaps feeling accompanied in the process.
2. What makes it significant or necessary for you?
Producing work is a necessity. In a poem, I once wrote: “I paint because if I don’t, I get lost; I paint because if I don’t, I die”. I discovered painting at 18, and I haven't been able to leave it since. Painting brought me as much adrenaline as it did peace. Creating work is significant. In that same poem, I wrote: “In my work, I confront myself, to know to what I am beholden”. I work from moments that caused me grief, confusion, or pain; bringing them to the present and converting them into art brings me peace. I empower myself, I find order, and I recognize myself as a more mature person than the one I was before.
3. Where do you begin an artistic project?
I start with an impulse I cannot explain. Images arrive, and I make sketches or write poetry. I always start from a concrete theme. Currently, my work revolves around female homosexual sexuality.
4. What methods or processes do you employ and why?
A memory comes to me, and with that first impulse, I write poetry. This helps me understand the objective I want to achieve with the project I have in mind. I also draw. The idea stays in my head for days while I make sketches and think about the ideal language to create the piece. Poetics is part of my visual language. I begin to relate objects or situations to one another—without an apparent connection—creating metaphors that lead me to produce the work.
5. Do you have a predefined idea of the result you want?
No. I know what I want to transmit or what I don't want to be misinterpreted, but I am also aware that during the creation process, new ideas and elements emerge. I prefer the final result to be a surprise, even to myself. I end up thinking: “At what moment did all of this happen?”. If I had every detail planned, I would end up getting bored, and I wouldn't leave much room for creation. I would just be reproducing something.
6. What factors influence the final result?
Although I don't have a defined concrete form, I do have small objectives set. These can be simple technical issues or small challenges I set for myself at the start. I usually have a clearer idea of what I don't want to be known. When I feel I have reached my maximum, I let it be the final result. Nonetheless, I see my work as a large whole, composed of elements that I can remix again to create new approaches. I am creating an archive of experiences and memory that I can re-explore to see things I didn't see before.
7. What causes the work to transform until it reaches its definitive form?
Ideas are not just ordered; they become clear to me, and in that way, they are internalized within the discourse of the work.
8. Which aspects of your work do you think the public connects with most?
My work has a greater possibility of connecting with an audience of dissident sexuality. Even so, empathy is achieved with those who are not. There will be people who connect without necessarily being homosexual, having a different approach to my themes, such as intimacy.
9. Which aspects of your work do you think are the least “user-friendly” for the public?
The lesbian component. Although sexual dissidence is increasingly public, LGTBQI+ issues still make conservative strata uncomfortable. The personal—especially regarding the sexual—is highly political, and revealing it is radical. In my work, I criticize this. The intimacy of a dissident sexuality ends up becoming a social matter. I hope that at some point, the lesbian component will not stand out in my work as it becomes normalized over time. My work presents a sequence of three handmade ink drawings, digitized and converted into animation. Transforming the traditional (as these drawings are unique pieces) and granting them reproducibility might bother a more purist audience.
10. What kind of relationship or response do you seek from the public?
I want the public to find new representations of dissident sexuality and normalize them. But my greatest wish is for my work to accompany those who are discovering that they want to be different. This work has already accompanied me; I hope it accompanies whoever needs it
シンビオシスで展示された『De Mi para Ti』シリーズのインスタレーションビュー。
シンビオシスで展示された『De Mi para Ti』シリーズのインスタレーションビュー。
シンビオシスで展示された『De Mi para Ti』シリーズのインスタレーションビュー。
Press & Critical Reception (spanish)
Sorry not sorry: the irreverent art exhibition at the CCPUCP
(...) On the other hand, Vanessa Valdez [Karin] , a student from the same faculty, has addressed sexuality in her recent projects. She presents Intimidad (Intimacy), ink illustrations of characters set within scenes subtly animated through a projector. For this exhibition, the student sought to depart from the predominant male gaze and represented love between women in her drawings.