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UN CUERPO AMBULANTE Sergio Zevallos En El Grupo Chaclacayo

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UN CUERPO AMBULANTE Sergio Zevallos En El Grupo Chaclacayo UN CUERPO AMBULANTE A WANDERING BODY Sergio Zevallos en Sergio Zevallos in el Grupo Chaclacayo the Grupo Chaclacayo (1982-1994) (1982-1994) 2 UN3 CUERPO AMBULANTE A WANDERING BODY Sergio Zevallos en Sergio Zevallos in el Grupo Chaclacayo the Grupo Chaclacayo (1982-1994) (1982-1994) Editado por / Edited by Miguel A. López PUBLICACIÓN EXPOSICIÓN AGRADECIMIENTOS AGRADECIMIENTOS DEL ARTISTA Edición Curaduría A Raúl Avellaneda y Helmut Psotta por los años Miguel A. López Miguel A. López de Lima – MALI - Coordinación editorial Coordinación Gabriela Germaná Valeria Quintana al Museo Travesti del Perú. www.mali.pe Metropolitana de Lima Concepto y diseño Fotografía Daniel Giannoni Ralph Bauer los autores Musuk Nolte Museografía Berlin Nord. Traducción los autores Nelson Munares Melanie Gallagher Flavia López de Romaña Valerie Berger Sharon Lerner ISBN 978-9972-718-39-7 Museo de Arte de Lima MALI Retoque 16 de noviembre de 2013 del Perú 23 de marzo de 2014 Impresión Centro Cultural de España – Lima 16 de noviembre de 2013 Reservados todos los 19 de enero de 2014 Wüttembergischer Kunst verein Stuttgart Alemania Museo de Arte de Lima – MALI al fondo hay sitio del Sur y VAGA. MUSEO DE ARTE DE LIMA PRESIDENTE DIRECCIÓN CURADURÍA DE EXPOSICIONES EDUCACIÓN IMAGEN Y MARKETING COLECCIONES Y PUBLICACIONES Y DE ARTE Jimena González DIRECTOR VICEPRESIDENTES GERENCIA GENERAL PRECOLOMBINO Comunicación y prensa Asistente Marilyn Lavado Primer Vicepresidente Asistente Asistente de gerencia REGISTRO Y Diseño Segunda Vicepresidenta y dirección CATALOGACIÓN MUSEOGRAFÍA DIRECTORA DEL IESP TESORERO Nelson Munares Eventos ADMINISTRACIÓN Asistente Colección Pilar Quesada permanente CONSERVACIÓN Asistente SECRETARIO Y RESTAURACIÓN Programa amigos Diego de la Torre Asistente del museo Marlene Hermoza Asistente Exposiciones Cursos y talleres VOCALES temporales y obras en Asistente Tienda tránsito Asistente MEDIOS DIGITALES Susana de la Puente Informes Susy Sano Petrus Fernandini CONTABILIDAD CURADURÍA ASOCIADA Técnicos en restauración AUDITORIO DE ARTE COLONIAL Simón Barraza PROYECTOS Jorge Alva Y REPUBLICANO EDUCATIVOS Asistente Rosario Rivadeneyra Asistente de Auditorio Diana Mendoza Sara Jiménez Julio Beltrán Alberto Rebaza CURADURÍA DE ARTE Asistente RECURSOS HUMANOS CONTEMPORÁNEO Gisella López Manuel Velarde Geraldine Núñez Sharon Lerner LOGÍSTICA Y Asistente PROYECCIÓN MANTENIMIENTO Valeria Quintana INTERNACIONAL Técnicos BIBLIOTECA Jesús Varillas Asistente Un cuerpo ambulante. Sergio Zevallos en el Grupo Cha- Museo de Arte de Lima clacayo (1982-1994) Presidente - Un cuerpo ambulante Un cuerpo ambulante le brinda al museo la oportunidad de repensar su propia histo- - A Wandering Body: Sergio Zevallos in the Grupo Chaclacayo (1982-1994) - - - Psotta and the Peruvians Raúl Avellaneda and Sergio - - - - - A Wandering Body Museo de Arte de Lima President A Wandering Body gives the museum 12 Exorcismos1 tóxicos. Toxic Exorcisms. Sergio Zevallos en el Sergio Zevallos in the Grupo Chaclacayo 1 Grupo Chaclacayo 1 Miguel A. López 2 3 Fig. 2 Grupo Chaclacayo, La muerte obscena de un santo. Performance en Festival Flottmann-Hallen, Herne, Alemania, 1991. Archivo Sergio Zevallos. Fig. 4 Detalles de escultura realizada por Sergio Zevallos usada para La Procesión, Lima, 1982. Fotografía: César Guerra. Publicada en el artículo “Todo y/o Nada,” en Lima Kurier, Lima, n. 25 (julio de 1982), p. 3. Cortesía Goethe-Institut Lima. Fig. 1 Grupo Chaclacayo, Todesbilder: Peru oder Das Ende des europäischen Traums (Berlin, Alexander Verlag, 1989). Portada. Biblioteca del Museo de Arte de Lima. Archivo de Arte Peruano. Fig. 3 Casa taller del Grupo Chaclacayo. En primer Fig. 5 plano la serie Rosa-Paraphrasen (1986) de La Procesión, Lima, 1982. Helmut Psotta, y en el fondo la serie Letanías Fotografía: César Guerra. Archivo Sergio Zevallos. acalladas (1984-1988) de Raúl Avellaneda. Lima, ca. 1987. Fotografía: Raúl Avellaneda. Archivo Sergio Zevallos. 4 5 Fig. 9 Los Bestias, Des-hechos en Arquitectura, 1984. Construcciones efímeras en la Universidad Ricardo Palma, Lima. Fotografía: Álex Ángeles. Fig. 10 Cortesía Archivo Alfredo Márquez. Incineración de cadáveres en el Cementerio de Santa Eulalia, Lima, 1983-1984. Fotografía: Raúl Fig. 6 Fig. 7 Sergio Zevallos en un paseo realizado a las Estampita de Jesús Nazareno Cautivo la exposición Perú… un sueño. (Lima: Museo orillas del río Chillón, Lima, 1980. Fotografía: de Monsefú intervenida con foto de de Arte de Lima-Goethe Institut, 1984). Archivo Raúl Avellaneda. Archivo Sergio Zevallos. Sergio Zevallos. Documentación de la Sergio Zevallos. investigación visual asociada a la serie Suburbios, Lima, 1982-1983. Archivo Sergio Zevallos. Fig. 8 Fig. 11 Herbert Rodríguez, Alfredo Márquez y Alfredo Helmut J. Psotta (Grupo Chaclacayo), La agonía Távara, Música Subterránea, Lima, 1985, publi- de un mito maligno, 1982. Participan: cación impresa en offset de matriz de cartón, Sergio Zevallos, Raúl Avellaneda, Frido Martin. 21 x 29 cm. Cortesía Archivo Herbert Rodríguez. Fotografía: Piero Pereira. Imagen publicada en Perú… un sueño. (Lima: Museo de Arte de Lima-Goethe Institut, 1984). Archivo Sergio Zevallos. 6 7 Fig. 12 Gian Lorenzo Bernini, La transverberazione di santa Teresa d’Avila, 1647-1652. Publicado Fig. 13 Fig. 16 en Grupo Chaclacayo. Todesbilder: Peru oder Portada del cómic Rubí. Lágrimas, risas y Estampa popular de la Beatita de Das Ende des europäischen Traums. (Berlin, amor, Bogotá, n. 13. Documentación de la Humay. Archivo Sergio Zevallos. Alexander Verlag, 1989), p. 42. investigación visual asociada a la serie Suburbios, Lima, ca. 1983-1984. Fig. 17 Sergio Zevallos (Grupo Chaclacayo), de la serie Símbolos - Huellas de un crimen, 1985-1986. Fig. 15 Sergio Zevallos (Grupo Chaclacayo), de la serie Sangre y Ceniza. Variaciones sobre la bandera, Fig. 19 Sergio Zevallos (Grupo Chaclacayo), de la serie sobre papel, 58.5 x 43 cm. Celdas, 1985-1987. Copia a la plata sobre papel baritado. 50 x 37 cm. Fig. 18 Cuerpo encontrado en la fosa común de Pucayacu. La República, Lima, 25 de agosto Fig. 14 de 1984, p. 16. Fotografía: Julio Pérez. Domingo, suplemento de La República, Lima, 5 de junio de 1986, p. 20. 8 1 Parte inicial de esta investigación importantes acercamientos sobre el 3 Ver el temprano comentario del 9 Kunstverein en Karlsruhe (21 de 6 Su última presentación como fue realizada en colaboración con trabajo del Grupo Chaclacayo –para crítico Luis Lama, “Pobre Goethe,” terminó en 2000 con la caída del septiembre – 29 de octubre, 1989), grupo fue en Fest III (29 de setiem- Emilio Tarazona entre 2008 y 2011. una referencia sobre sus escritos en Caretas, Lima, 3 de diciembre de dictador Alberto Fujimori y su gobier- y el Künstlerhaus Bethanien en bre — 3 de octubre, 1994) en Para una versión preliminar de este véase la bibliografía en este libro. 1984, p. 63. Este y otros artículos de no criminal y corrupto. Los principa- Berlín (19 de enero – 18 de febrero, Dresden. En este festival partici- texto véase Miguel A. López, “Queer Desde la perspectiva de la sexuali- Lama se comentan en este escrito. les actores en la guerra fueron la 1990), y también en dos escenarios paron también el grupo esloveno Corpses: Grupo Chaclacayo and the dad y el género, el artista y docente Más recientemente el crítico Manuel organización maoísta Sendero Lumi- en el lado perteneciente a la DDR: Laibach, la compañía de danza Image of Death”, en E-Flux 44 (Im) Miguel García ha analizado el trabajo Munive utiliza la fuerte presencia de noso, la guerrilla Movimiento Revo- la Galerie am Weidendamm del Betontanc, el cineasta Lutz Damm- practi cal (Im)possibilities (Carlos de travestismo de Zevallos como un lo sexual para desestimar el trabajo lucionario Túpac Amaru, y el gobier- Zentrum für Kunstausstellungen beck, el artista y teórico Peter Motta, ed.), abril de 2013, http:// episodio pionero de prácticas artís- de Zevallos –y del Grupo Chaclacayo no peruano. Todos los actores arma- (9 – 27 de mayo, 1990) y en el Weibel, entre otros. ticas maricas en Perú. Véase Miguel en general– al señalar que su obra - Maxim Gorki Theater, donde el grupo corpses-grupo-chaclacayo-and- García, “Auténticos, Destructores, transita por el “trillado camino del ciones sistemáticas contra los dere- presentó una serie de performances the-image-of-death/ Forajidos y Amorosos: Políticas cor- onanismo estético.” Véase Manuel chos humanos y mataron civiles. en vivo. Además, en el vestíbulo porales y nue vas estéticas en una Munive, “Inkarri. Vestigio barroco,” del teatro Maxim Gorki el grupo ex- 2 Este libro compila varios de los 5 La exposición se presentó entre ciudad inter minable,” en Jorge Illapa. Revista del Instituto de Investi- textos históricos más importantes 1989 y 1991 gracias al Institut für Bracamonte, ed. De amores y gaciones Museológicas y Artísticas de varias de sus acciones que fue sobre el grupo publicados en Perú Auslandsbeziehungen (ifa) en Stutt- luchas: diversidad se xual, derechos de la Universidad Ricardo Palma, rápidamente censurada. y Alemania entre 1982 y 1991. En gart (19 de abril – 18 de junio, humanos y ciudadanía (Lima, año 2, n. 2, (Lima, diciembre de la última década ha sido el crítico 1989), el Museo Bochum (15 de julio Centro de la Mujer Peruana Flora 2005), pp. 127-128. Emilio Tarazona quien ha ensayado – 27 de agosto, 1989),
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