Iragatsanoenkatagantsi - Having a lump in your throat for sadness) and more art by Natalia Revilla

Iragatsanoenkatagantsi - Having a lump in your throat for sadness), 2015
55 x 76 cm (h x w)
USD 1 200
Embossed on paper.
for sale

Natalia Revilla has made the individual exhibitions 20 words and Lo invisible es un lugar (Wu Galería, Lima), El otro sitio and Outgraphy (Galería Pabellón 4, Buenos Aires), El Porvenir es el pasado que viene (CC. Ricardo Palma, Lima) among others.
Recent group exhibitions include: Paper Routes: Women to Watch 2020 (National Museum of Women in the Arts, Washington), El dibujo en el Perú: arqueología de la realidad (Feria Estampa, Madrid), En tiempo presente (Espacio Odeón, Bogotá), What if democracy happens? (Galería 80m2, Lima) , Pleasure is more important than victory (Tasneem Gallery, Barcelona), Second Fair of Young Art Sala Cero (Animal Gallery, Chile) The Generation of Spectacle: Contemporary Peruvian Art (Kiosco Gallery, Santa Cruz, Bolivia). As well as in the international fairs Arco Madrid, Pinta London, Swab Barcelona, Scope Miami, ArtBo, ArteBa among others. His work has been published in "Amazonistas" (Editor: Cristian Bendayán, Bufeo Amazonía), Colección Encuentros Cercanos: "El Porvenir es el pasado que viene", Libro de artista (Editors: Miguel López, Nancy la Rosa, Juan Salas); Art Nexus, Nro. 92 "The invisible is a place" (Miguel López), "What if democracy happens?" (Editors: Miguel López and Eliana Otta) , "Pleasure is more important than victory" (Miguel López and Sharon Lerner) among others. She is Director of Context, Publisher of Artist Books and has also participated as Researcher of the Curatorial Team of the Place
My work explores the different ways of relating to places and landscapes, due to changes that occur in nature by socio-environmental conflicts, natural disasters and also by human action.
Many of my projects investigate the impact of facing the violent transformation of places and landscapes, due to changes that occur in nature by socio-environmental conflicts, natural disasters and also by human action.
The destruction of these spaces is part of a crisis, not only on a collective scale, but of the identity of each individual, since it breaks the sense of belonging, being, also, a silent form of violence in the deep dimension of the intimate.
It is in these conflicts, where the body of the woman has had a fundamental role, since it has been represented as a symbol of conquered territory
violence and its impact in both the collective and private spheres.
These works were inspired by my casual encounter with a Matsigenga – Spanish dictionary and from interviews with speakers of both languages. The Matsigenga are an indigenous people living in the Peruvian Amazon, who speak the Matsigenga language, one of the 48 native languages of Peru.
Every drawing represents a word in Machiguenga, which has no direct translation into Spanish. Each language is a reflection of a particular form of living in the world, and evidence of a spirit of community. For this reason, in all cultural exchange, and in the face of encounters among distinct languages, translation has a foundational importance. Paradoxically, it is in this space that one speaks as much of the necessity as of the impossibility of a dialogue, that must not be understood solely as a means to an end, or for its linguistic function, but rather as a cultural and political instrument; an act of communication in the frame of a given cultural context, and therefore, of a particular understanding of what the other is.

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other works by Natalia Revilla

Shigentiárintsi - The brightne..., 2015
110 x 75 cm (h x w)
Embossed on paper.

Kamakagagantsi - To die togeth..., 2015
110 x 70 cm (h x w)
Embossing and ink on paper.

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