Espíritu de las Casas: Exhibición individual de Nicolás Janowski en colaboración de Freddy Mamani

23 September - 20 October 2021
Overview

Interferences of ajayus: photographic collaboration between Nicolás Janowski and Freddy Mamani

 

The collaborative project “Espíritu de las casas” by Nicolás Janowski (Argentina) and Freddy Mamani (Bolivia) is currently being exhibited at Vigil Gonzáles Gallery, located in Urubamba, Cusco (Peru). For the conception of this exhibition project, both artists agreed to meet in Bolivia, particularly in the city of El Alto, in 2019. This meeting happened days before the political crisis in the country, so it was a fragile possible confluence. The result is a work where we see how both gazes intertwine.

 

Nicolás Janowski is an artist who brings together several interests that allow him to rethink current interdis- ciplinary practices, paths that do not seem to follow the traditional ones and, rather, explore the vertigo of creation. His processes move between the universes of photography, curatorship and anthropology.

 

Freddy Mamani is an essential reference in the emergence of neo-Andean architecture in Bolivia. In recentyears, he has become the most representative authorial figure of the buildings implemented mainly in the city of El Alto, known as “cholets”. It is part of an architectural proposal that is also the materialization of the political, aesthetic, economic and cultural strength of the urban indigenous Aymara population.

 

The exhibition “Spirit of the Houses” contains two lines of work. The first is a reinterpretation and appro-priation of archival images of the French expedition to Tiwanaku in the first decade of the 20th century. We find a series of historical photographs of the archaeological work in the pre-Hispanic ruins. Faced with this archive, which is the testimony of the extraction of the cultural heritage of Tiwanaku to Europe, Janowski proposes to work on a rereading, for this he manages a copy of the photographs from The Brooklyn Mu- seum. He adjusts, retouches and prints them on cotton prints and, as a curatorial practice, takes them to El Alto to work with Mamani. This gesture evokes the repatriation of stolen heritage.

 

Freddy Mamani intervenes the documentary photographs with a series of drawings consisting of designs, plans and sketches of buildings that are part of the neo-Andean architecture in Bolivia. Buildings that sprout like seeds from archaeological ruins. Simultaneously, Janowski intervenes in the images by writing with his blood words in Aymara as a way of vindicating and strengthening the uses of the Aymara language in the present.

 

In the work we can visualize the process of reconstruction and self-identification of the contemporary Aymara with Tiwanaku. It is there, where the works invite us to imagine the relationship and the mythical past and heritage between the architecture of the cholets and Tiwanaku. It is also an artistic exercise that consists of a historical reparation, which we could understand as a healing in the face of the colonial history suffered and resisted by the indigenous populations in the Andes. Reconstructing the indigenous often forc- es us to reinvent or imagine the past and the connections with the present.

 

Finally, we end with a review of the second line proposed by the exhibition in Cusco, which consists of a series of poetic interpretations of Andean ontology from Janowski’s gaze and aesthetics. Moving away from the positivist photography of the early twentieth century, he proposes a photography capable of gen- erating multiple faces and deconstructed landscapes, temporalities that are crossed and confused, the past and the future interfere. These photos invite us to think that in an increasingly globalized world, where the indigenous voice and history are presented as evidence of difference, they become a possibility for change and transformation. In addition, the work allows us to dream of the possibility of a symmetrical encounter between diverse people. Thus, creation becomes a possibility to respect, but at the same time celebrate, cultural differences.

 

In the exhibition at VIGIL GONZALES we find ajayus (souls) that interfere with each other that continue creation in the midst of the pandemic.

 

Installation Views
Works
  • Nicolás Janowski Recordar, evocar, traer a la memoria, 2021 Impresión en papel fibra mate de Hahnemühle 80 x 58.57 cm Ed. 1/5
    Nicolás Janowski
    Recordar, evocar, traer a la memoria, 2021
    Impresión en papel fibra mate de Hahnemühle
    80 x 58.57 cm
    Ed. 1/5
    $1,800.00
  • Nicolás Janowski El estar aquí, 2021 Impresión en papel fibra mate de Hahnemühle 80 x 58.57 cm Ed. 1/5
    Nicolás Janowski
    El estar aquí, 2021
    Impresión en papel fibra mate de Hahnemühle
    80 x 58.57 cm
    Ed. 1/5
    $1,800.00
  • Nicolás Janowski Sanar, 2021 Impresión en papel fibra mate de Hahnemühle 120 x 87.26 cm Ed. 1/3
    Nicolás Janowski
    Sanar, 2021
    Impresión en papel fibra mate de Hahnemühle
    120 x 87.26 cm
    Ed. 1/3
    $2,800.00
  • Nicolás Janowski Alma, 2021 Impresión en papel fibra mate de Hahnemühle 80 x 58.57 cm Ed. 1/5
    Nicolás Janowski
    Alma, 2021
    Impresión en papel fibra mate de Hahnemühle
    80 x 58.57 cm
    Ed. 1/5
    $1,800.00
  • Nicolás Janowski Chullpa, 2020 Impresión en papel fotográfico lustre de Hahnemühle 30 x 22.5 cm Ed. 1/5
    Nicolás Janowski
    Chullpa, 2020
    Impresión en papel fotográfico lustre de Hahnemühle
    30 x 22.5 cm
    Ed. 1/5
    $1,000.00
  • Nicolás Janowski Chiripa (Lago Titicaca), 2020 Impresión en papel fotográfico lustre de Hahnemühle 30 x 22.5 cm Ed. 1/5
    Nicolás Janowski
    Chiripa (Lago Titicaca), 2020
    Impresión en papel fotográfico lustre de Hahnemühle
    30 x 22.5 cm
    Ed. 1/5
  • Nicolás Janowski Ch’alla, 2020 Impresión en papel fotográfico lustre de Hahnemühle 30 x 22.5 cm Ed. 1/5
    Nicolás Janowski
    Ch’alla, 2020
    Impresión en papel fotográfico lustre de Hahnemühle
    30 x 22.5 cm
    Ed. 1/5
    $1,000.00