Roberto Huarcaya
Bio
(1959) graduated in Psychology from the Universidad Católica del Perú. He studied Cinema and Photography at the Instituto Italiano de Cultura and Photography at the Centro del Video y la Imagen in Madrid in 1989, the year in which he began to dedicate his career to photography. He participated in the Havana Biennial (1997); Lima Biennial (1997, 1998, 2000); Primavera Fotográfica of Cataluña (1998); PhotoEspaña (1999); Venice Biennale (2001, 2016); Dialogues in MOLAA (2009); Mois de la Photo (2010); among others. He participated in numerous solo and group exhibitions in the US, France, Spain, Mexico, Brazil, Chile, Argentina, Venezuela, Japan, Germany & Netherlands. His work is part of the Maison Européenne de la Photographie (France); the Fine Arts Museum of Houston (USA); the Art Museum of Lima (Peru); the Fundación América in Santiago de Chile (Chile); Centro de Arte Contemporáneo Wilfredo Lam (Cuba); and the Hochschild and Mulder Private Collections, among others.
Statement
Roberto Huarcaya is one of the most distinguished and committed contemporary artists in Peru. Since his appearance on the visual arts scene, he stood out for the ambition of his projects, in which the photographic medium has often been linked to other creative means in combinations of great solvency. Exercising an anthropological point of view on the images he chooses to take, the artist manifest his interest in nature in some of his emblematic series such us “Amazogramas” (2014), “Andegramas” (2017) & “Océanos” (2018) that portray the three large geographic regions of Peru. His work aimed to pursue these projects with visual devices that transform their reading. Since 2014, Huarcaya has turned his attention to cameraless photography, retracing to the very origins of photography, using the primitive technique of the ‘photogram’ to capture primeval realities.
Additional information
Esta obra es un dibujo fotogénico de niños danzantes de tijeras de Lima, un tradicional baile andino que proviene de los tiempos de la conquista como una pauta de resistencia a la misma. La pieza se desprende de un ambicioso proyecto de fotogramas a gran escala sobre la cultura andina.
