Two works by Peruvian artist Gaudencia Yupari Quispe sold to Madrid Museum

Two works by Peruvian artist Gaudencia Yupari Quispe sold to Madrid's Reina Sofía Museum

The Reina Sofía Museum today completed the acquisition of two works by artist Gaudencia Yupari Quispe from the Mauro Herlitzka & Co gallery.
They are textile pieces that use traditional Andean techniques and imagery.
The director of the contemporary museum in Madrid, Manuel Segade, has been visiting arteba for 15 years and says: "This fair is extremely peculiar. It should be a national heritage site!"
The director of the Reina Sofía in Madrid, Manuel Segade, who will soon complete his first year at the head of the museum, bought two pieces by Peruvian artist Gaudencia Yupari Quispe at noon today. These are textiles made with aboriginal techniques and imagery, which are displayed on a group wall in the Herlitzka & Co gallery.
Gaudencia, who developed the technique of Sarhua panels, a textile narrative from the Ayacucho area, is also the mother of the young artist Violeta Quispe, who is shining at the 60th Venice Biennale and is visiting arteba. The daughter continues the legacy and mastery of her artist mother. One of the works sold so soon tells of an episode in family life, when she intervened to save the life of her pregnant daughter Violeta.

As for the Madrid museum, it has scheduled exhibitions for the next few years of three active Argentine artists today, Marta Minujìn, Ana Gallardo and Fernanda Laguna. We wanted to know the reasons that led to these acquisitions. Director Segade answers.
–Above all, we look for works from native communities and female artists; We are very aware, above all, of art languages that have historically been impoverished, labelled as poor aesthetics or craftsmanship. The work of the Peruvian Gaudencia follows these parameters and also has a very important political aspect in these times. Note that she narrates a kidnapping while her daughter Violeta was pregnant, when a soldier from the Shining Path wants to arrest her. It is interesting to see the parallel story that these works tell; in a museum we do not need so much the historical document as the artistic account of these events. And here we have a hyper-creative vision in Gaudencia. She thinks that the great paintings of the 19th century also did this; today it is done from a lesser but equally important canon.
–Tell us about the second piece.

–The second work is contrasting; it tells a vision of childhood in which personifications appear; the sun has a face. And it is not only the pantheization of the everyday world; I think it indicates a subjective transformation. The representations of art transform the world, they do not account for a reality in a literal way. For that, we already have other direct means, such as photojournalism.

–The Reina Sofía is increasingly looking to Latin America, seeking to renew itself. But also to respond to demands from the artistic field, regarding the imperial vision of the canon's narratives.
–We have been acquiring pieces from Latin American indigenous communities for a few years now, since the previous management of Manuel Borja-Vilell, because we want to expand the Museum's narrative, as a great contemporary space that is also for Latin American art. We have acquired works from communities in Mexico and Peru, Colombia and Brazil.
–You have been visiting arteba for fifteen years. Are there transformations? How do you see the vitality of the audiovisual field here?

–There is much to highlight. For now, the first thing that jumps out at you in the Argentine art scene is resilience because, come on, the crisis that is being experienced is very strong... And arteba always manages to be a party. Despite everything, there is an art market, based on the support of the community of artists themselves. And this affects many generations of Argentine art. I went to the Comedor Belleza y Felicidad Villa Fiorito gastronomic space and in the queue you found foreign museum directors, great curators and artists without a penny. It is hyper-peculiar. This fair should be a national heritage!
–You have been visiting arteba for fifteen years. Are there transformations, how do you see the vitality of the audiovisual field here?

–There is a lot to highlight. For now, the first thing that jumps out at you in the Argentine art scene is resilience because, come on, the crisis that is being experienced is very strong… And arteba always manages to be a party. Despite everything, there is an art market, based on the support of the community of artists themselves. And this affects many generations of Argentine art. I went to the Comedor Belleza y Felicidad Villa Fiorito gastronomic space and in the queue you found foreign museum directors, great curators and artists without a penny. It is hyper-peculiar. This fair should be a national heritage!
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