ÑUQA KAUSAKUSAQ QHEPAYKITAPAS / I WILL OUTLIVE YOU (excerpt)
2017
Single channel HD video and sound
15 minutes 17 seconds
Claudia Martínez Garay’s work is in dialogue with the impact of colonialism on cultural artifacts, questioning how cultural artifacts are created, preserved, transformed and circulated. Investigating objects' journeys between their origin and destination, she suggests that the information accrued in these transitory spaces holds value and power.
ÑUQA KAUSAKUSAQ QHEPAYKITAPAS / I WILL OUTLIVE YOU (excerpt)
2017
Single channel HD video and sound
15 minutes 17 seconds
2018
Fired clay, bricks, metal, iron, painting with acrylic and clay on panel
Variable dimensions
2018
Fired clay, bricks, metal, iron, painting with acrylic and clay on panel
2018
Fired clay, bricks, metal, iron, painting with acrylic and clay on panel
2018
Clay painting on panel with ceramics attached on top
80 x 100 x 9 cm | 31 1/2 x 39 3/8 x 3 1/2 in
2018
Acrylic and varnish on wood
213 x 469 cm | 83 7/8 x 184 5/8 in
2018
Installation view from "2018 Triennial: Songs for Sabotage" (13 Feb '18 - 27 May '18) at the New Museum, New York, USA
2017
Clay painting, mixed media
Approximately 35 x 95 cm | 13 3/4 x 37 3/8 in
2018
Acrylic and varnish on wood
220 x 447 cm | 86 5/8 x 176 in
2018
Installation view from "2018 Triennial: Songs for Sabotage" (13 Feb '18 - 27 May '18) at the New Museum, New York, USA
… imaywanpas quidakuwakmi … / … but you can stay with my stuff …
2017
Installation with ceramic (fired and raw: red, black and white clay, porcelain, plaster, wood, iron and bricks) and paintings
Variable measurements (approx. 500 x 700 cm)
…but you can stay with my stuff… (mural with dog and shrunken head)
2017
Clay painting, ceramic, iron and brick
Approximately 120 x 200 cm | 47 1/4 x 78 3/4 in
2018
Plaster and watercolor
15 x 13 x 13 cm | 5 7/8 x 5 1/8 x 5 1/8 in
2018
Plaster and watercolor
11 x 21 x 12 cm | 4 3/8 x 8 1/4 x 4 3/4 in
2018
Plaster on wood, watercolor, gouache, acrylic
100 x 80 cm | 39 3/8 x 31 1/2 in
2018
Plaster and watercolor
21 x 11 x 11 cm | 8 1/4 x 4 3/8 x 4 3/8 in
2018
Plaster on wood, watercolor, gouache, acrylic
100 x 80 cm 39 3/8 x 31 1/2 in
2018
Plaster and watercolor
11 x 14 cm | 4 3/8 x 5 1/2 in
2018
Plaster and watercolor
11 x 14 cm | 4 3/8 x 5 1/2 in
2018
Plaster and watercolor
21 x 12 cm | 8 1/4 x 4 3/4 in
2018
Plaster and watercolor
10 x 20 cm | 4 x 7 7/8 in
Claudia Martínez Garay’s work investigates the journey that objects undertake from the moment of their origin, through the progression of contexts and destinations that they inhabit, suggesting that the information accrued in these transitory spaces holds value and power. Martínez Garay looks to the pre-Columbian cultures of South America, with a focus on representing and interpreting the visual language of Incan ceremonial traditions. Geometric forms are pulled from the Incanato, or Incan elite, which are postulated to be symbols ranging from markers of social class to glyphs from unknown writing systems.
Using artifacts and their attributed narratives to investigate their origins and transformations, Martínez Garay presents ceramic objects as an installation in dialogue with these inquiries. Ceramic animals appear on the ground and atop other objects, painted corn sits in bowls with legs and feet, limb like forms attached to metal rods spring out of bricks. Interested in studying the object’s own surface and materiality, she sees the surface of ceramics as a product of the desert landscape – the original space where the objects symbolism is derived from. Each object has its own biography, its own history. While individual works are fragile and symbolic, together they form a collective that is powerful and analytical. The fractured forms signal that these identities that have been obscured through a process of erosion, both metaphorical and literal. Underlying this arrangement is a drive to reanimate the existing fragments of a lost history. Persistent and bittersweet, Martínez Garay’s work analyzes modernity as an inseparable component of colonialism.
Claudia Martínez Garay (b. 1983 Ayacucho, Peru) studied Printmaking at the Pontificia Universidad Católica of Peru (PE) from 2001 to 2007 and at Rijksakademie van Beeldende Kunsten in Amsterdam (NL) from 2016 to 2017. She is now participating in the 12th Shanghai Bienniale (CN) and has presented solo exhibitions at GRIMM, New York (US); The Peruvian-British Cultural Center (PE); Inca Garcilaso Cultural Center of the Foreign Affair’s Ministry of Peru (PE); and French Alliance Gallery of Miraflores (PE). Her work can be found in the collection of the Central Reserve Bank of Peru (PE); Lima Art Museum (PE); Micromuseo alfondohaysitio (PE); Museo Olho Latino (BR); Hochschild Collection (PE); Graeme Briggs Collection (SG); and several private collections.
Photo by Jiang Wenyi. Courtesy of Power Station of Art
New Museum’s 2018 Triennial: Songs for Sabotage from Phillips on Vimeo.
by Monique Mcintosh
by Benoît Loiseau
by Maximilíano Durón
by Henri Neuendorf
GRIMM Press Release
GRIMM Press Release
GRIMM Press Release
GRIMM Press Release
Interview by Tina Daheley
by Benjamin Sutton
by Scott Lynch
by Sarah Cascone
by Scott Indrisek
by Howard Halle
by Hilarie M. Sheets
by Gabrielle Schwarz