从我到你
《从我到你》系列的装置艺术展示，展出于Symbiosis。
贪欲的欲望
象征着渴望的行动
在探索自己身体的艺术作品中，常常会出现一种令人不安的光辉。有一种独特的痕迹（像印记一样）支配着这些作品，由强烈的欲望所推动，欲望是为了否定那些曾经谴责过自己身体的语言。她们现在发现，这种性别身份也是存在的，因为它们从第一次接触到快感开始就存在，并且现在完全属于她们。这是一个地球上的、个人的快感，比任何人都更属于她们自己，起源于急迫地利用自己的身体。赋予身体某种用途，把它推向深渊并试图推动它。我们看到变形的身体，奉献的身体，暴露的身体。我们能从中提取出哪些病态的欲望呢？ 本次展览中的每位艺术家都以一个共同的前提开始：对自己情感的亲密记录。Luna Dannon的作品探索欲望和恐惧这对双重力量如何在她的画作中产生张力。她允许自己用外科手术般的精准来解剖自己的经历，把自己的自我反思转化为一种情感档案。而Vanessa Karin则将“性别短信”的无形特质具象化，将数字裸体转化为艺术品。她的作品质疑在这个短暂图像时代中的亲密关系，并重新定义它，成为一个永久的残余。而Julieta Glasserman在其梦境般的作品中将性和焦虑交织在一起：她的作品把恐惧和困扰转化为一种令人不安的美丽场景，而她的身体成为了心理状态的视觉日记。 她们在质疑，这个身体是否真的属于她们可以去探索的领域，还是它只是那些告诉她们它是不可触碰的庙宇。由此产生了一种前所未有的好奇心，想要以一种本能的方式去了解它，去触及它最深处：为什么不去打开它、解剖它呢？在这样做的过程中，产生了一种俏皮的自我表现，从一种特别的、有迫切感的眼光去看待这种欲望。我们社会中那种窥视的欲望现在被艺术家的双手掌控，她们把它转化为既令人对抗又充满诱惑的作品。 Leonor Silvestri谈到快感时说它像是一个壕沟，一个欲望不向道德或解放的期望屈服的地方。在这些作品中，这种快感被扭曲、隐藏，并作为一种挑战呈现给观众：不是为了被理解，而是为了被感受。欲望被切断并与焦虑交织，在这些作品中，这些焦虑显现为那些在他人眼光中感到困惑的身体。Luna Dannon构建了一个图像，描绘身体试图自我支配，在容纳它的事物与将其超越的事物之间存在不断的张力。Julieta Glasserman则把身体表现成一个没有尽头的隧道，埋藏着我们的怨恨，同时将情色图像保存在一个触觉和物质的维度中。Vanessa Karin将我们带入一个后梦境的空间，在这里身体变成了一个变异的生物，摇摆于脆弱与怪异之间。 这些艺术家将她们自身的碎片奉献出来，就像是糖果或短暂的宽恕一样。在这一瞬间，她们的身体从日常生活中脱离，急切地暴露在梦幻般的世界中，这些世界在乌托邦和反乌托邦之间摇摆。这些空间似乎承诺着某种解放，而这种解放常常在某些女性主义话语中夸夸其谈，而这些话语在渴望解放的过程中，反而复制了新的关于溢出欲望的规范。然而，艺术家们并不寻求融入任何已设定的叙事结构。她们没有提供一种道德化的解决方案，也没有明确的主张：她们展示了一个正在进行中的身体，一个在危机中、在游戏中的身体。这是一种通往新身体理想的启蒙仪式。她们引导我们在镜子前变形，创造了一个地方，在这个地方，抚慰缺失的需求成为了一种自我表现，而不适感则成为了容纳欲望的一种方式。 Macarena Puelles
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
《从我到你》系列的装置艺术展示，展出于Symbiosis。
《从我到你》系列的装置艺术展示，展出于Symbiosis。
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
《从我到你》系列的装置艺术展示，展出于Symbiosis。
《从我到你》系列的装置艺术展示，展出于Symbiosis。
《从我到你》系列的装置艺术展示，展出于Symbiosis。
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.