Work Sample

'' ANTENNA - RADIO - HIGH VOLTAGE TOWER'', - In Process view, -When Work of art in progress- Ellipses, points, turns, et al, etc, welding shop, Thanks to Carlos Risco Huaraca (Sculpture) for his gentleness and help. Sculptural Installation, Sculpture in Urban Space, Public gardens, Park. 140 x 115 x 260 cm. MATERIAL: Metal, Iron, Steel, Reinforced concrete. TECHNIQUE: Electric Welding, Oxyacetylene Welding, Reinforced concrete. '' ANTENNA - RADIO - HIGH VOLTAGE TOWER '' - During the decades of the 1980s and 1990s in Peru, radio was the most widely used media of communication to spread messages of solidarity, of good protection, of news and of responsibility of population to their families and the Peruvian population. It was during this time that every two or three days, at least Lima, the capital city, was the victim of intermittent power cuts in the days and nights, due to the so-called 'blackouts', ''apagones'', for several days, consequence of the terrorist attacks every three days in which the terrorists 'flew' the high voltage towers (''blasting of high voltage towers'') that kept the city of Lima without electricity and left it without power or electricity. In that sense the radio antennas through their radio waves, the radio communication media, assumed their responsibility of social communication media with the Peruvian population sending messages of optimism, solidarity, and good protection of the people to their relatives , (p.ex. via RadioProgramas or Radio Nacional) during almost every night, including during the times of the ''toque de queda'' '' curfew '', from 11 o'clock at night until 6 o'clock in the morning when the population woke up, went to work, and many of us, being children, went to school. The radio antennas and high tension towers became symbols of a whole generation, from which we were born and grew in the decade of the '80s and' 90s in Peru. Nota bene: For example, Many times we studied and did homework very early in the morning or at night, in full 'curfew' with wax candles of long duration due to the 'blackouts', 'apagones', or sometimes with old kerosene lamps, as there was no electricity or light to do the homework of the school, due to the 'blackouts' of the terrorists. My secondary school, private, of nuns, of girls, and really very peaceful and harmless, had to change their windows from normal windows for other anti-bomb windows, something unheard of because we were very peaceful, a little artists, and harmless, in a residential neighborhood, but we got used to the anti-bomb windows, and to our obligatory theoretical-practical course of 'pre-military training', led by a military officer in service who was our teacher of the course in our high school of nuns, where some of us trained in the practical part in 'marinera of Lima', the traditional dance of Lima, to obtain our military national document, since that was part of our obligatory military service. The theoretical part of the course was a bit more military and about national defense, besides knowing how to act in case of terrorist attack in our high-school, due to the context. That surprised us a little, until now. We did not know and we did not understand why we were also 'objective' of the terrorists, because we were very calm and optimistic girls, in the high school. (For example, existed high probability of car bomb attacks or terrorist kidnappings against our high school, because our high school had already received phone calls and 'warnings' about it -threats-, besides having three schools on our very small street and five in total in that area near the sea, in our emblematic small, quiet and traditional district, had to be prepared for any terrorist attack at any time against our high school and know how to act in case of, yet we never had fear and we were always optimistic and happy). Maybe for that reasons we don't likes violence or abuse, because that our view and logic is to construct and help, -always optimists-, and not to destroy or eliminate. We don't understand destructive logics. Result: First place winner, Status: Complete. Realized and Executed, with Public Exhibition in Urban Space, Public Garden, Park. JURY: Johanna Hamann -Brooklyn Museum of Art NYC-, Veronica Crousse, Sonia Prager -Central Saint Martin's School of Art of London- (Sculpture), SCIENTIFIC COMMITTEE: Johanna Hamann -Brooklyn Museum of Art NYC-, Veronica Crousse, Sonia Prager -Central Saint Martin's School of Art London- (Sculpture), CURATED BY: Johanna Hamann -Brooklyn Museum of Art NYC-, Veronica Crousse, Sonia Prager -Central Saint Martin's School of Art of London- (Sculpture),

Date: 05/24/2018