“Carne Viva”

Museo de Arte del Centro Cultural de San Marcos

There are instances when life manages to imitate art without recycling clichés, and this exhibition was a fine example. Last August, the Peruvian Truth and Reconciliation Commission released its report on the tragic results of two decades of political violence in Peru, which, it is now known, claimed twice as many lives than the original highest estimate. “Carne viva: Partes de guerra 1980–2003” (Raw Flesh: Fragments of War 1980–2003), which opened before the report was published, provided artistic evidence for this violence by showing work with overt and covert political content by fourteen contemporary Peruvian artists. The curator, Gustavo Buntinx, started with the premise that indirect forms of resistance and underground activity, such as art, could counter political persecution. The best political art is never simply an illustration of a given event but aims instead at demystifying

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