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Arturo Kameya
Grandma's Cooking Recipes, GRIMM Van Baerlestraat 80, Amsterdam (NL), 17 July - 22 August 2020

Arturo Kameya: Grandma's Cooking Recipes

Past exhibition
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  • Press release
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Overview
Arturo Kameya, Grandma's Cooking Recipes
View works

GRIMM is pleased to announce Grandma’s Cooking Recipes, a solo exhibition of new works by Arturo Kameya opening on July 17, 2020 at our Van Baerlestraat location in Amsterdam.

Download Press Release
Works
  • Arturo Kameya Hole, 2020 Acrylic and clay powder on wood 8.7 x 13.5 x 1.8 cm | 3 3/8 x 5 1/4 x 3/4 in
    Arturo Kameya
    Hole, 2020
    Acrylic and clay powder on wood
    8.7 x 13.5 x 1.8 cm | 3 3/8 x 5 1/4 x 3/4 in
    Sold
  • Arturo Kameya Cerros, 2020 Acrylic and clay powder on wood 30 x 40 x 1.5 cm | 11 3/4 x 15 3/4 x 5/8 in
    Arturo Kameya
    Cerros, 2020
    Acrylic and clay powder on wood
    30 x 40 x 1.5 cm | 11 3/4 x 15 3/4 x 5/8 in
    Sold
  • Arturo Kameya Plastic is my favourite color, 2020 Acrylic and clay powder on wood 21.7 x 30 x 1.5 cm | 8 1/2 x 11 3/4 x 5/8 in
    Arturo Kameya
    Plastic is my favourite color, 2020
    Acrylic and clay powder on wood
    21.7 x 30 x 1.5 cm | 8 1/2 x 11 3/4 x 5/8 in
    Sold
  • Arturo Kameya Assembly, 2020 Acrylic and clay powder on wood 25 x 35 cm | 9 7/8 x 13 3/4 in
    Arturo Kameya
    Assembly, 2020
    Acrylic and clay powder on wood
    25 x 35 cm | 9 7/8 x 13 3/4 in
    Sold
  • Arturo Kameya, Like a cardboard doll, 2020
    Arturo Kameya, Like a cardboard doll, 2020
  • Arturo Kameya Untitled, 2020 Acrylic on salvaged wood 30.5 x 84 cm | 11 3/4 x 33 1/8 in
    Arturo Kameya
    Untitled, 2020
    Acrylic on salvaged wood
    30.5 x 84 cm | 11 3/4 x 33 1/8 in
    Sold
  • Arturo Kameya Ese Amargo Amor / That bitter love, 2020 Acrylic and clay powder on wood 30 x 40 cm | 11 3/4 x 15 3/4 in
    Arturo Kameya
    Ese Amargo Amor / That bitter love, 2020
    Acrylic and clay powder on wood
    30 x 40 cm | 11 3/4 x 15 3/4 in
    Sold
  • Arturo Kameya Palacios, 2020 Acrylic and clay powder on wood 30 x 21.5 cm | 11 3/4 x 8 1/2 in
    Arturo Kameya
    Palacios, 2020
    Acrylic and clay powder on wood
    30 x 21.5 cm | 11 3/4 x 8 1/2 in
    Sold
  • Arturo Kameya Si nací cansado / If I was born tired, 2020 Acrylic and clay powder on wood 30 x 40 cm | 11 3/4 x 15 3/4 in
    Arturo Kameya
    Si nací cansado / If I was born tired, 2020
    Acrylic and clay powder on wood
    30 x 40 cm | 11 3/4 x 15 3/4 in
    Sold
  • Arturo Kameya Altar piece, 2020 Acrylic and clay powder on wood 140 x 85 cm | 55 1/8 x 33 1/2 in
    Arturo Kameya
    Altar piece, 2020
    Acrylic and clay powder on wood
    140 x 85 cm | 55 1/8 x 33 1/2 in
    Sold
  • Arturo Kameya Stardust, 2020 Acrylic and clay powder on wood 152 x 152 cm | 59 7/8 x 59 7/8 in
    Arturo Kameya
    Stardust, 2020
    Acrylic and clay powder on wood
    152 x 152 cm | 59 7/8 x 59 7/8 in
    Sold
  • Arturo Kameya, You never wash up after yourself N°1, 2020
    Arturo Kameya, You never wash up after yourself N°1, 2020
  • Arturo Kameya, You never wash up after yourself N°2, 2020
    Arturo Kameya, You never wash up after yourself N°2, 2020
  • Arturo Kameya, Huevo duro / Hard boiled egg, 2020
    Arturo Kameya, Huevo duro / Hard boiled egg, 2020
  • Arturo Kameya, You never wash up after yourself N°3, 2020
    Arturo Kameya, You never wash up after yourself N°3, 2020
  • Arturo Kameya Pan y circo, pero circo sin pan, 2020 Acrylic and clay powder on wood and found objects installation approx: 270 x 450 x 20 cm | 106 1/4 x 177 1/8 x 7 7/8 in
    Arturo Kameya
    Pan y circo, pero circo sin pan, 2020
    Acrylic and clay powder on wood and found objects
    installation approx: 270 x 450 x 20 cm | 106 1/4 x 177 1/8 x 7 7/8 in
    Sold
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Installation Views
  • Arturo Kameya Grandma S Cooking Recipes Grimm Van Baerlestraat Amterdam 2020035 Crop
  • Arturo Kameya Grandma S Cooking Recipes Grimm Van Baerlestraat Amterdam 2020013
  • Arturo Kameya Grandma S Cooking Recipes Grimm Van Baerlestraat Amterdam 2020055
  • Arturo Kameya Grandma S Cooking Recipes Grimm Van Baerlestraat Amterdam 2020016
  • Arturo Kameya Grandma S Cooking Recipes Grimm Van Baerlestraat Amterdam 2020062
  • Arturo Kameya Grandma S Cooking Recipes Grimm Van Baerlestraat Amterdam 2020076
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Press
  • 9 x de beste tips voor het weekend in Amsterdam (in Dutch)

    Lisa Lubberts, Het Parool, August 21, 2020
Press release
Arturo Kameya, Grandma's Cooking Recipes
View works

GRIMM is pleased to announce Grandma's Cooking Recipes, a solo exhibition of new works by Arturo Kameya opening on July 17, 2020 at our Van Baerlestraat location in Amsterdam. This is Kameya's first solo exhibition with the gallery.

Arturo Kameya invokes the idea of family recipes as a metaphor for inherited formulas of survival and political intervention passed down from generation to generation. In doing so, he questions which formulas should be passed down and which are best not repeated. Kameya's installations combine paintings and found objects to conjure three distinct narratives: a personal history, the history of Lima's urban subculture, and an account of politics in South American football. His works recreate these three narratives from their symbolic objects and locations, calling attention to the overlapping perspectives they offer. The moments of history that are presented in this exhibition merge themes of loss and defeat with expressions of celebration and resilience, bound together in a way that is at once universally understood and specific to the family, nation, and region they portray.

A two-dimensional painting of a kitchen shelf lined with jars and containers hangs above a dishrack of illustrated plates; this is a source of ingredients for family recipes, representing the kitchen of Kameya's grandmother. The artist's grandmother started what would become the family restaurant after she immigrated to Peru in the 1930s. She was the sole cook at the restaurant and refused to divulge her culinary secrets for fear that she would be replaced; when she passed all her recipes were lost. Although her daughters made attempts to recreate the recipes, they were never successful. This narrative presents a reversal to the notion of family heritage and poses the question: Is it best just to start over? 

The same bittersweet quality is also significant in the tradition of Peru's Chicha culture, a subculture that developed in the urban neighborhoods of Lima to become a symbol of national pride. A grouping of paintings translated from 1980s tabloid covers feature titles such as, "The Pope Makes Contact with E.T." Kameya points to the role of these publications, known collectively as the Chicha press, providing a kind of cheap escapism for the working class through stories of the paranormal, football scandals, and pin-up girls. These publications historically served as a government tool for spreading misinformation, but have been embraced for their affordability and as a kind of guilty pleasure. In the Peruvian context, Chicha describes not only these tabloids but is associated with genres of regional music and art. Another series of small-scale paintings are windows into the city landscape of Lima, focusing on concrete football pitches used by the locals as sites for Chicha concerts, birthday parties, political rallies, and other gatherings. Class lines circumscribe Chicha as both a mode of defiance and an expression of social conditions that call for celebration as a way of coping with the realities of life.

Another work pictures the aftermath of the controversial match between Argentina and Peru during the second round of the 1978 FIFA World Cup. During this time both Peru and Argentina (as well as surrounding South American countries) were ruled by military dictatorships: political bodies that were highly invested in the spectacle of the 1978 World Cup. The game between Peru and Argentina-which allowed for Argentina (the host of the World Cup) to advance and ultimately win in a final match against the Netherlands- is widely viewed as having been rigged. The Peruvian team lost this monumental game in 6-0 defeat, and has never reached the same prominence. From this time, the loss has served as allegory for Peruvians on the futility of playing to win and altered the focus of football fans to alternate aspects of the sport such as the artistry of the players. Recounting this moment, Kameya incorporates images and text that allude to the politicization of football as a means for national and international dynamics to play out on the field. 

Combining elements from entertainment, sports, and politics, Kameya reflects on how these spheres are interrelated and how they continue to be shaped by broken systems. This new body of work continues Kameya's practice of incorporating a mix of referential elements to create scenes reflecting on his personal experiences.

However, with this installation, Kameya has widened his conceptual scope to include intersecting perspectives on social and political developments. He draws elements from archival research and his memories, to create these small monuments, historical projections that question the inherited systems of today.

 


Opening: Friday July 17th, Van Baerlestraat 80, Amsterdam (NL)

With regards to covid-19, we kindly ask you to RSVP and choose a time slot: 4pm, 5pm, 6pm or 7pm.


 

Download Press Release
Related content
  •  9 x de beste tips voor het weekend in Amsterdam (in Dutch) Press

    9 x de beste tips voor het weekend in Amsterdam (in Dutch)

    Het Parool Aug 21, 2020
    Read more

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  • Arturo Kameya

    Arturo Kameya

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The Netherlands

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