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Underground Culture

Underground Culture by Aldo Chaparro

A few months ago I was in front of the television mechanically flicking through the channels, seeing hundreds of images go by without a single one catching my eye (the speed at which I change channels is practically unbearable for the rest of my family which means I usually watch television alone). Suddenly, an image shot into my head. It took me a few seconds to recognize it: it was the pyramid. That enormous earthen mass that marked my perception of volume for ever; a National Geographic program was analyzing facts about its construction.

When I was a boy my family lived opposite a pre-Columbian pyramid that just happened to have been hemmed in by a residential area of Lima. From my window I could see that huge bulk perfectly, standing out on the opposite side of the street against the ever hazy and grey sky of Lima the horrid – as Salazar Bondy christened it. But my experience of the Huallanmarca pyramid was not only contemplative. In that great space, on its ramps, platforms and peaks, I spent my whole childhood and adolescence, witnessing many stages in my development. From the highest point, you could see the sea and the sunset. Every summer evening we would meet up in this millennial place to do what its first inhabitants, architects and builders would surely have done.

Seized by a vision very like that of Richard Dreyfuss in the movie Close Encounters of The Third Kind (where he couldn’t stop building mountains out of mashed potato or shaving foam), one day, in a not very surprising decision, I chose to devote myself to sculpture.

When PRODUCTORA showed me the LiMAC model, I felt that such a hole in my native land fitted nicely with my ‘ever-present-concern-with-primary-volume’. I immediately thought of Chan Chan, the Nazca lines, the ancient Peruvian’s sacred relationship with the earth, the work of Emilio Rodríguez Larrain, of Lika Mutal, Jorge Eduardo Eielson and Fernando de Syzlo’s feeling for the desert, the Pachamanca, archaeological digs – legal and illegal – and how for the Peruvians, the idea of something being found underground is always a sign that it is worth something.

During my years in Peru, I would always suffer watching the channels authorized to transmit contemporary knowledge because they seemed obsolete, retrograde, misinformed and provincial. It seemed to me that the traditional means of performing this legitimating function in the rest of the world, such as exhibitions, catalogues and theoretical books were treated with indifference, and in fact, the same happened with the most banal media, such as magazines, gossip and the commercial and social side that holds up any art network. This way of seeing things used to put me in a very bad mood, but with time, I’ve realized that now I also appreciate that tremendously critical and independent spirit, which, incapable of forgetting its past glories (just, perhaps, as I am incapable of forgetting the mass of mud), is not happy with ideas that might be fleeting or chauvinist.

Taking into account its condition of geographic isolation and its self-imposed distancing from Lima’s prevailing scepticism, the LiMAC project is ideal, based as it is on the axes of our Peruvian culture (as I sensed, on the Nazca lines, or Chan Chan, for example) and also articulated by the attitudes of contemporary artists such as Dan Graham and Robert Smithson. The project connects to contemporary global thinking, going from an individual to a general level, transforming the peculiarity of its local specificity into a matter of interest for everyone.

Aldo Chaparro Winder (Perú, 1965) Artist, curator, editor and art director. His artistic work has centered on sculpture, design and photography focusing on the visual relations between natural and artificial objects. 

Comments

Potato
1.03.2013 15:44

I like potatos

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