The work of Sandra Gamarra is characterized by the strict ordering of daily objects (photographs, dishes, files,etc) in such a systematic and regular manner, that in some cases, the depiction of these objects nearly turn into abstract compsoitions. His line of balance between the use and orderliness of space and its reflection about the origens and placement of the objects within the world make of gamarra´s compositions attractive and mysterious.
Sandra Gamarra – “The Guest”
By now she knows well the tale of hospitality: in the Latin word hospes, host and guest are two sides of the same fabric. Host and guest are strangers to each other; this is precisely what bonds them. They dwell together in the kind forms: in the way they follow each other, never too fast, never too slow; in the modulation of their voices, where their accents search for the middle ground; in their amicable manner of asking for things, trying not to exaggerate for it would sound fake, making apparent their effort so there is no room for doubt or rudeness. This feeling of constant danger is exciting. The host opens the door of his house for her. He is generous; he hides nothing. If it is her wish, she can stay forever. Yet she knows: this everything is not to be, this time without measure must not be grasped.
All these things she has learned in her journeys. She travels; she is always a foreigner. It is her life, this wandering. She collects objects, animals, books, dreams. It is not that she can keep all these things. But people give them to her. This she has learned too: she must accept the offerings. There was great danger. It was as if they were dying, they just offered it all. But she could not keep these presents of gentle dying. Or could she? With her side of the fabric she invented a way of giving back. She turned it around, embracing that which she will never have. And she let them in, the memories.
She is thinking of this when the night falls; they light candles.
She observes the people gathered at her host’s party. He has given her a new present tonight: the house is full of strangers. There are men and women talking, all of them speaking the beautiful and daunting language of kindness. Someone has brought a dog, the color of wood. It runs among the guests: you feel the tail, so soft around your legs –then it’s gone. She notices the stiff chairs, traces of wine on the carpet, open windows letting the warmth of room out. She observes empty dishes left on the table, piling up. And the books that will not be opened tonight, and the records that will not be played. And there is also glimmering paper, gift-wrap, discarded, in a corner. And she imagines the house from the outside and the party already over, and she thanks the guests for their presence. Everything is perfect. Except that she cannot find the host.
But she is not scared, she knows they are strangers.
SANDRA GAMARRA - THE GUEST
Opening: Wednesday, May 27, 6 to 8 pm
Rotwand is delighted to present the first solo exhibition in Zürich of the Peruvian artist Sandra Gamarra (Lima, *1972).
The exhibition, “The Guest”, is based on a short story (see attachment) of Ximena Briceño inspired by photographs of public and professional spaces as well as books from art museums that the artist acquired during a recent visit to Zurich. This exhibition looks at and builds upon the relation between the stage and its audience. How do visitors identify with what they contemplate? “The Guest” juxtaposes behind-the-scene pictures with exhibitive spaces. This combination underlines that visitors relate to places made for a certain effect where hosts decide what to show. Throughout the exhibition, the artist becomes the invited host of a space which functions as an incomplete puzzle filled by the foreign and familiar interpretations of its guests.
Sandra Gamarra investigates museums as spaces for reflection on memory, classification, selection and emptiness. In 2002 she created the LiMac, Lima Contemporary Art Museum, whose collection is partly made up of appropriations of works from her contemporaries as painting, a formula which she uses to make ¨real¨ and ¨original¨ objects out of copied catalogues and art magazines. Due to the lack of a real museum, Sandra Gamarra creates fictitious museums that she turns into spaces for reflection on the problematic of memory and unarticulated history.
Museums can be analyzed as new places for peregrination and understanding that opened up as public spaces. Such situations can have a reversed effect when spectators wait for something to happen, such as a revelation or a miracle, without their interaction. Miracles is the title of a recent exhibition where Sandra Gamarra used the art gallery as a church where her works turned into icons of a culture where the spectator is part of the spectacle.
In such a way, the museum is a construction of memory in which we keep and forget things. Painting is a medium that shows how the story behind the appropriated images can be unified through the artist’s work.
Some recent exhibitions are:
“53rd International Art Exhibition of the Venice Biennale” (2009), “Trópicos”, National Gallery, Cape Town, (2009), ¨La Ilusión del uso”, Galería Lucía de la Puente, Lima (2009), “Milagros”, Galeria Leme, São Paulo (2008), “Pipe, Glass, Bottle of Rum: The Art of Appropriation”, MoMA, New York (2008); “Relíquias e Ruínas”, SescSP, São Paulo (2008); “Located Work Project”, coordinated by Joseph Kosuth, La Casa Encendida, Madrid (2008); “Existências – Colección MUSAC”, Museo de Arte Contemporáneo de Castilla y León, León (2007); “Urbe y Arte”, Museo de la Nación, Lima (2006).
Her works are in several private and public collections such as MoMA NY, Tate Modern, Musac, Caja Madrid and Mali.
Link de video com algumas obras de Sandra Gamarra:
Site com imagens de obras dela: