Works
Biography

Arturo Kameya’s work examines the narratives and myths that comprise different versions of history, with a distinct focus on indigenous cultures. Kameya works with various mediums, including: acrylic, plaster, film, and print making. His multimedia artworks are often arranged together to create large-scale installations that delineate connections between disparate historical events, by linking together a range of visual cultural languages which have been formed over time. Recent works closely examine the fabric of contextualized urban environments, while embracing the contradictions that come with knowing a place intimately. His work has garnered increasing attention in recent years for attentive and direct critical depictions of his native country Peru, that narrative both the troubling and familiar aspects of life there.

Arturo Kameya (b. 1984 in Lima, PE) attended the Pontifical Catholic University of Peru in Lima (PE) and was a resident at the Rijksakademie van Beeldende Kunsten, Amsterdam (NL). In 2021 Kameya's work was presented at the fifth New Museum Triennial Soft Water Hard Stone in New York, NY (US).

Solo exhibitons include, En esa pulga se mezcla nuestra sangre / In that flea, our blood mixes, GRIMM, New York, NY (US); Drylands, Dordrechts Museum, Dordrecht (NL); No one knows the world, Art | Basel Miami Positions (online), GRIMM Amsterdam (NL); Grandma’s Cooking Recipes, GRIMM, Amsterdam (NL); Depósito de Sombras, Alliance Française, Lima (PE); Allá en el Caserío, Acá en el Matorral (with Claudia Martínez Garay) Ginsberg Galeria, Lima (PE); Ghosts Don’t Care if You Believe in Them, Hotel Maria Kapel, Hoorn (NL); Ghost Stories, Alliance Française, Lima (PE); Ciencia Ficción, Wu Gallery, Lima (PE); Land at the End of the Sea (with Claudia Martínez Garay), Galería del Centro Cultural Británico de San Juan de Lurigancho, Lima (PE).

The artist's work is part of numerous collections including ING Collection (NL); Saastamoinen Foundation (FI) and Xiao Museum of Contemporary Art (CN).

"Childhood memories, scenes from Lima’s suburbs where the artist grew up in the 1990s, family traditions and popular culture often form the point of departure of Arturo’s artworks. These sources lead to intriguing groups of related, finely detailed paintings, installations and, occasionally, videos. [...] Arturo’s work feels both familiar and unknown at the same time. Yet all elements seem to relate. They find each other in a carefully composed idiom constructed by gentle looking forms and by soft pastel and grayish, slightly muted, colors. [...] Arturo’s artworks may looklike mementos or witnesses from a bygone era, which addssomething bittersweet, in between nostalgia, a painful sentimentand a celebration of the past."

- excerpt fromTurning history downside up by Madelon van Schie, Who can afford to feed mroe ghosts, 2021

Press