VIGIL GONZALES is pleased to present a selection of emblematic works within the conceptual body of the Peruvian artist and activist Natalia Iguiñiz. The works chosen for this digital edition of ARCO Madrid refer to some key points to understand the conceptual narrative that the artist develops in more than 25 years of career, making her a key character to understand the Latin American sociopolitical problem. Through "Amor maternal" and "Road Movie" we enter the political axis of Natalia's work where she explores the questionings and social constructs (outdated) that being a mother carries in a patriarchal society.
Margarita Saona writes about "Amor Maternal": “The photograph Maternal Love (cover David Herkovitz) shows us three pairs of crossed legs that playfully avoid individuation, making it impossible to determine who owns which legs. Maternal love abandons the self and surrenders to the possibility of a multiple existence, prolonged in others.
The video "Road Movie" (2015) by Iguiñiz puts in color and images the impossible journey towards understanding being a mother. The video begins with hands selecting and sorting Lego pieces, cards and tokens from different games "
In the book "Energías Sociales / Fuerzas Vitales", on the occasion of Natalia's anthological exhibition, the Peruvian curator and researcher Miguel López writes: “In Vómito (Cover Untitled # 175 by Cindy Sherman), 2012, Iguiñiz copies the grotesque scene of a famous photograph of Sherman from the late eighties to become a periodic testimony of the daily life of her life as a mother. But vomiting also appears as an effect of the profusion of pink color in the image associated with the habits imposed on the ways of dressing or raising a daughter, and whose insistence and repetition seem to indicate a social fear of another type of affiliation of tastes aesthetics or sexuality ".
Likewise, referring to the other two works exhibited within the framework of this digital tour of ARCO Madrid, the Peruvian researcher says: “In Mi mundo Plop (2012) he photographically staged the painting Globo Pop (2007) by Claudia Coca. While the original work shows the image of Coca blowing up a balloon with pink gum, stressing her mestizo features with the colors of cosmopolitan pop, Iguiñiz uses a plastic balloon and reverses the position of the balloon in her mouth, leaving the mouthpiece out. and closing his eyes as if the explosion of the balloon were moving inside his own body. In Serpentina (2012), the artist portrays herself with children's clothing and streamers in her mouth in a parody of the sensations that alludes to the culture of children's birthdays and the emotions of containment and overflow of her own body ”.
From her studies in Painting at the Pontificia Universidad Católica del Perú – PUCP (1990-95) and the Master's Degree in Gender, Sexuality and Public Policy at the UNMSM, her work explores the construction of discourses around the conceptions of the feminine, the sexuality, domestic work and motherhood. Her work shifts between art exhibition spaces, intervention in public space and feminist activism. Occasionally she works in graphic design, writing and curatorship. Among her most outstanding participations in the last year is her participation in the Mercosur Biennial, curated by Andrea Giunta in 2020. Natalia is part of the collection of the Lima Art Museum (MALI ), Reina Sofía (Madrid), MOLAA (California), among others.
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