My work focuses on developing a performative transdisciplinarity that establishes situations of citizen critique within culture as a social whole. Therefore, utilizing artistic strategies and functions, I operate beyond aesthetic culture and the field of art, dissolving boundaries between work, management, and andragogy.
I address cultural, social, political, and economic issues that challenge me, as a person of my generation and from my place in the world. The search for a resocialized liberal ethic is my main creative challenge, and my greatest difficulty in achieving it, which leads me to understand performance beyond the narrow confines of performance art predominant in the contemporary art financial system .
In recent years, my artistic projects have resumed dialogue with the specialized field of art, but from practices not limited to it, gradually relying less on recognizably plastic, visual, or performance art media, and increasingly resorting to processes in transition toward non-aesthetic culture. Specifically, in terms of performance, I gradually transition from a performativity in the absence of the body to one in the host body , among others unrelated to the bodily staging so sterilely persistent in the performance art academy.
Along these lines are我们都有吃饭的权利(Germany, 2020 - 2022), Cultivar Trilce / Trilce Tarpuy (since 2022) and Ramtun / Hebitur / Tapuy (Chile, 2024 - 2042), the latter co-created with Mauricio Vargas Osses and in collaboration with other Chilean artists, educators and scientists. They are agricultural art and performance projects of non-human biological bodies (European, Chilean and Peruvian potatoes), which, through andragogical practices and long-term processes, contrast chauvinism, geopolitics, agribusiness and financierism with intercultural dialogue between Western languages, knowledge and technologies and those of indigenous Aymara, Quechua, Kunza, Mapudungun and other peoples.
I have exhibited at Berlin Art Week 2021—IFA-Galerie; Deformes Performance Triennial, Santiago de Chile; Fine Arts: A Trajectory of Images (1918-2018), Germán Krüger Espantoso Gallery, ICPNA; Über die Straße sind wir gekommen , Kunstraum Suburbia Galerie, Linz, 2014; XIII SOHO in Ottakring Festival, Vienna; Contemporary Art Collection of the San Marcos Art Museum (curated by Juan Peralta), UNMSM Cultural Center, 2011; Linha Luíquida , Latin America Memorial Museum, São Paulo, 2009; IV Tijuana Biennial; Actionism in Peru 1965 –2000 (curated by Emilio Tarazona), ICPNA, 2005; VIII Havana Biennial; III Porto Alegre Biennial; VII Cairo Biennial; IV Cuenca Biennial and XXVIII Cagnes-Sur-Mer International Festival, among other exhibitions.
In 2022, my work in absent body performance, host body performance, non-human bodies, and other forms of performance not focused on human presence or bodily activity was included in the International Performance Art Archive Cologne by the University of Bonn. My agricultural art and non-human body performance project, Cultivar Trilce (Urubamba, Sacred Valley of the Incas, Cusco, 2022-2027), received a 2022 Economic Incentives for Culture Award from the Peruvian Ministry of Culture. In the past, I have received the Gold Medal of Fine Arts, the Seguros Atlas Fine Arts Award, the CCC National Award, and the 2V'S Award. As a founding member of the Civil Society Collective, I have received recognition for my citizen political work for the restoration of democracy during the genocidal dictatorship of Alberto Fujimori.
Artistic projects in progress:
Cultivar Trilce (from 2022)
On hiatus due to the artist's health.
Participatory agricultural art project and performance of non-human bodies, in dialogue with Porfirio Meneses's Quechua version of César Vallejo's poetry collection Trilce. Developed from 2022 to 2023 in Cusco (Andén Almendraspata, Centro Willka), and currently in preparation for Andean expansion. Published here .
Ramtun / Hebitur / Tapuy (2024 to 2042).
This project is being shared with Chilean artist-educator Mauricio Vargas and Chilean agricultural engineer Francisco Díaz. It is a project-based learning project, participatory agricultural art, and performance of non-human bodies, in dialogue with the Mapudungun poem "The Book of Questions" by Mapuche poet Elicura Chihuailaf, based on fragments of Pablo Neruda's poem of the same name. Its title, in various native languages, means "to ask." It is intended to be developed in Mapuche, Kunza, and Quechua educational communities in Chile and Peru, with the possibility of expanding to other ancestral languages and spreading throughout Amerindian America. It is currently in the process of being negotiated with the Toconao Educational Complex in San Pedro de Atacama (Kunza language) and with the Pablo Neruda Poet School in Isla Negra (Mapudungun language) in Chile.
Signal (2010, lifetime).
A daily lifelong performance. The performance consists of crossing myself every time I happen to pass by the door of a bank, in an incessant accumulation of performative capital. The project has accumulated 35,730 performances to date (15.10.25. 12:47), having been held in Ácora, Arequipa, Asia, Barranca, Cusco, Ilave, Lima, Pomata, Puno, San Bartolo, Santa María del Mar, Trujillo (Peru), Atienza, Barcelona, Donostia, Iruña, Lizarra, Madrid, Santo Domingo de la Calzada, Sigüenza, Toledo (Spain); Berlin, Braunschweig, Frankfurt (Germany); Salvador de Bahía, São Paulo (Brazil); Nantes, Paris (France); Amsterdam, The Hague (Netherlands); Vienna (Austria); Brussels (Belgium); Bogotá (Colombia); Quito (Ecuador); Mexico City (Mexico). Published here .
