Pinta PARC | Main section | Lima, Perú

_VIGILGONZALES is pleased to announce its participation in PINTA PArC, where it will present a selection of pieces in the NEXT Section, curated by Florencia Portocarrero. The works of Gonzalo Hernández (Lima, 1991) and House of Haha, a collective formed by artist Victoria Colmegna (Buenos Aires, 1986) and Canadian curator Bonny Poon (Canada, 1987) will be exhibited. 

 

 

The selection of works presented here explores the realization of an ideal desire. In the case of Hernandez, it is driven by her deepening of the reasons and meanings of renown and notoriety in the art world, while House of Haha is based on the satirical virtualization of inbreeding.

We are also pleased to announce that Gonzalo Hernandez (Lima, 1991), MA in Fine Arts and Textile Art from Savannah College of Art and Design (Georgia), has been incorporated into the Espacio 23 Collection (Miami, FL), from collectors Jorge M. and Darlene Perez for their support. Simultaneously, the Peruvian North American Cultural Institute at Lima presentes Ways of disappearing, Hernández´s solo show, curated by researcher and art critic Máx Hernandez Calvo.

 

In both sets emerges the theme of the construction of a memory that oscillates on the gradient of falsehood and truth. While in a self-conscious way Hernandez refers to the emulation of a successful career in the intellectual field, through appropriation and support in one's own biography; House of Haha realizes quasi-illusory desires that could present characters of coldness, disenchantment, neutral perfectionism and artificiality of the desired.

Active memory possesses the attribute of implosion: in an active exercise of remembrance, the subject shapes his memories and outlines his fantasies. This initial abstract instance opens the door to the black hole that possesses and consumes everything. In this field -as dangerous as it is powerful- any work is possible. That is why the selection presented here bravely shares with us such an intimate facet of the artists. Thus, both in Hernandez's textile realism and in House of Haha's nonsense of the ideal, authorship operates as a form of dialogical governance.