2014 – Associate at Open School East, UK.
2010 – MA Fine Arts. Chelsea College of Arts and Design, UK.
2007 – Post-graduate Diploma in Fine Arts. Chelsea College of Arts and Design, UK.
2005 – MA Fine Arts (Mestrado em Artes Plásticas). UNICAMP, Brazil.
2002 – BA Fine Arts (Bacharel em Educação Artistica com habilitação em Artes Plásticas).
Warike y La Araña as a Pacha: Social Art Practice as world making
Prof. Karl Posso and Dr. Ignacio Aguiló
The research aims to analyse Warike y La Araña (1978-1988), two interconnected art spaces in Lima (Peru) that developed an atypical practice in Peruvian, and to an extent, South American art at the time. Although highly recognised Peruvian artists such as Carlos Runcie-Tanaka and Sergio Zevallos had their first exhibitions there, Warike y La Araña have never been historised. This is, as I will explain, because of its complex nature which made it difficult to define and map by means of an approach focused mainly on individual artists or artworks. This project proposes a new approach in which Warike y La Araña are analysed as a Pacha, an art object in itself – one configured by the different social relations, participants and events that composed it – thus remaining faithful to its political stance and recognising the multiple contributions involved. This proposal aims to perform a reading of its practices and experiences through Peruvian Andean Philosophy, a conceptual framework that challenges Eurocentric philosophical systems from a perspective rooted in Liberation Philosophy and indigenous epistemologies.
Warike y La Araña broke with established art frameworks at the time by blurring boundaries between indigenous crafts, traditional art, architecture and design. Uncharacteristically from that period, it embraced the different subjects that inhabited those practices: for example, Warike y La Araña were exhibiting indigenous craftsman alongside painters, thus blurring the distinction between different art forms. I will analyse how Warike y La Araña generated an alternative economic model through functioning as a commercial enterprise, a living space, a community and an art gallery, without hierarchizing those functions into high/low culture or art/non-art divisions. Warike y La Araña never self-defined as a collective, embracing a fluidity of authorship that allowed for different roles to be recognised equally (for example, artistic and administrative roles were seen as equal). I argue that these characteristics made it a safe space that challenged gender, race and the class barriers expectations of Peruvian society at that time.
Andean Philosophy, Decoloniality, Latin American Art History, The Ontological Turn, Queer Theory, Feminist theory
The C-Word: Motherhood, Activism, Art, and Childcare (forthcoming) in Performing the everyday maternal practice: Activist structures in creative work, Studies in the Maternal Volume 8, Issue 2., 2016. Co-written with Kim Dhillon. Open access on-line journal.
Un dia en el juzgado in Imprentas Desobedientes, 2015. Co-written with Eva Weinmayr. Taller de ediciones economicas. Mexico DF, MX.
Borrowing Poaching Plagiarising Pirating …, 2014. Co-edited with Eva Weinmayr. AND Publishing. London, UK.
The Economy of Free, 2014 in Hidden Economies Newspaper. Copenhagen, DK. in Open School Reader. London,UK.
On how art should help us imagine different futures and how….Control Magazine, 2014. London, UK.
The Piracy Project in conversation with Cornelia Sollfrank, 2014. Giving what you don’t have. On-line.
Engage 32: Citzenship and Belonging, 2013. Interview with Sara Greavu. London, UK.
The Impermanent Book in Best of Rhizome 2012, 2013. Co-written with Eva Weinmayr. Link Editions. Publish on demand.
Invisible Spaces of Parenthood Manual, 2012. Editor. Published by The Showroom. London, UK.
The Piracy Papers, 2012 – on going. Co-editor with Eva Weinmayr. Published by AND Publishing. London, UK.
WEAR journal, 2012. Interview. Homeshop. Beijing, China.
The Impermanent Book, in Rhizome April 2012. Co-written with Eva Weinmayr. On-line publication.