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PALLAY PAMPA: Carrefour des Andes – Announcements

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PALLAY PAMPA is a Quechua term that describes the distribution of patterns on Andean textiles: the weaving area called Pallay symbolizes what is said, while the area called Pampa symbolizes what remains to be said. In this exhibition, Pallay corresponds to tradition and the idea of ​​learning through textiles, while Pampa represents the future discourse and the freedom to take risks. PALLAY PAMPA: Crossroads of the Andes understands knowledge as something given only in part and still open to experimentation and reflection.

The Andean communities of Peru preserve ancestral production methods and a relationship with the environment based on their traditional cosmovision, that is to say the way in which the Andean mentality apprehends the world. Economy, nature and biodiversity are seen as interacting in balance, with deep emotional and symbolic ties to the land, which the Andeans see as a mother (Pachamama) deserving of respect, care and gratitude. In this worldview, a farmer not only takes care of his children and animals, but also of the land, water and all the fruits of the earth. Appropriation is based on a concern for what is cultivated.

PALLAY PAMPA: Crossroads of the Andes brings together a group of artists, activists and researchers to reflect critically on the contribution to be made by Andean communities in the face of the impact of globalization and the colonization of cultural identities on the preservation of life in the world. The commissioned works encompass ideas about community, cooperation, teaching and nature.

In his installation, the artist Caroline Estrada offers a design system that takes into account how we can work with nature in the coexistence and sustainable co-creation between the ecosystem and the individual. She documents the ancient practice, led by women from the community of Quispillatta, in the department of Ayacucho, of harvesting water (qocha), through the use of natural water reservoirs and wetlands called bofedales.

The artist and playwright Juan Osorio addresses the spatial and temporal multidimensionality of Andean thought, using texts by Peruvian intellectuals José María Arguedas and Gamaniel Churata, main promoters of indigenous culture. His multisensory installation includes these poems, concepts and plural perspectives.

In his text-based conceptual work, the artist Kenyi quispe explores and experiences the possibilities and limits of what we tend to see as the very origin of modernity, universal freedom and equality, in pursuit of which different cultures, although constantly drawing closer, never reach a meeting point.

The interdisciplinary artist Emilio Santisteban presents a powerful geopolitical exchange between nature and logos, inscribing on a potato – object of world culture and industry – Andean ideas on ecosystem and food, in the midst of intractable arguments on identity and thought patterns.

Artist Daniela Zambrano Almidon highlights the important link between traditional rituals and contemporary urban life, through a dialogue with the Aymara shaman Apu Qullana Malku. His video Suma Quamaña in the city brings us closer to the ceremonies of learning and wisdom contained in the concept of Suma Quamaña, or live well.

In their collaborative video essay, art historian and educator Adela pino explores how the model of teaching and learning traditional Andean textile technology is governed by an “agro-festival ritual calendar”. Based on this hypothesis, the plastic artist and anthropologist Isaac ruiz offers a moving documentary look at textiles as a form of community learning connected to the landscape. Photographer and activist Alvaro Acosta accompanies and documents this process as validation.

PALLAY PAMPA: Andean crossroads, presents a plurality of artistic perspectives and ideas, in an encounter that looks both towards and from the Andes, and in which politics, culture and environment meet at a point of tension necessary to define the context territory of the exhibition. A place of human-nature co-authorship, which will also become a place of appreciation for the intangible heritage that indigenous cultures preserve to this day.

Curator: Lizet Diaz.


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