Euroidiomas Foundation Gallery. 2015
T O T A L A R T W O R K
TO ACTIVATE THE MEMORY AND THE HEART
In contemporary society the territory of the visual has been gaining protagonism through exhibitions where the global and the local interact by touching on topics that continue to confront us with the past and the present. Art and exhibitions have been transformed into tools to change the way we see and understand the world, to inspire reflection on different societal problems.
Jorge Miyagui is an artist that feeds off of his visual, social and political context, territories in constant change, as are his ever more radical forms of resisting, creating and participating. Miyagui has chosen paint as a powerful platform for social transformation by betting on artistic practices that forge new stages and renovated processes for an encounter with new publics, new spaces and new theories. His
painting permanently confronts us through the recovery of diverse episodes and elements of Peruvian
history. Even since 2000, through his Guerrilla interior or Inner guerrilla piece, he tells us of his interest in generating encounter and confrontation between our multiple cultural referents.
Manifiesto compiles utopias, aspirations, conflicts and the unresolved problems of recent history.
Transgressive discourses where the academic and the popular coexist inhabit here. He proposes
reflections on the link with the sacred, a polycentric view based on social and subjective experience. The visual text is the pattern of a weaving made with patches of histories, cultures, perspectives, moments, instances where the limits that fragment our experiences are undrawn. They are provocative pieces en which referents from Japanese culture and the Andean world, migration, Christianity, popular urban culture and the Occupy Wall Street movement are weaved together, elements that are re-signified with other contents.
Manifiesto is also the self-affirmation of his own identity, as artist and citizen. In Autorretrato or
Self portrait, Jorge Miyagui embodies his Andean and Japanese cultural roots upon the primordial base of the Yawar Fiesta image. His piece Perú: aparte de mí este cáliz or Perú: apart from me this chalice based on Picasso’s Guernica, is a cry for truce on Peru’s recent history and its violent deaths in different times and spaces. Each piece is a visual text that allows the spectator to generate links that cannot be noticed at first sight, but that can finally be identified and embody an exercise in critical vision. The imaginary of cultural hybridism occurs in the terrain of the sacred, so as to reclaim our social and cultural leaders guarded by angels that take on symbolic gestures and actions in pieces such as Nuestra Señora de la Rebeldía or Our Lady of Rebellion and Nuestro Señor de la Rebeldía or Our Lord of Rebellion. And the Buda-ekeko reminds us of the joy of living.
The pertinence of Manifiesto in the context of a growing interest to historicize the practices of Latin American artists in exhibitions on human rights and art-politics show us that proposals such as this one gain global and historic relevance and are already a part of the global agenda. By now, the limits between artistic practice and political practice have been undrawn. Jorge Miyagui’s painting recovers unusual symbolic relations within elements of popular and media culture in a vital way, affirming that the present is ripe with memory, like a camp of debris that is worth transiting through in order to heal the wounds. As he expresses, an art that activates both the memory and the heart.
Issela Ccoyllo - March 2015