Livia Benavides Galería

Chonon Bensho at ISLAA with “Biri biri imaboi / Your fingertips will glow,” currently on view in Tribeca, New York through August 29. Curated by Starasea Camara, the exhibition marks the first solo show in the United States by the Shipibo-Konibo artist, poet, and scholar from Santa Clara de Yarinacocha, Ucayali, Peru.

The show foregrounds Bensho’s sustained engagement with kené, the intricate geometric visual language that encodes systems of knowledge and healing within Shipibo-Konibo cosmology, long transmitted across generations by women artists and healers, or onanyas. Bringing together ink and graphite drawings, poema cantos (sung poems presented through audio recordings), and select publications, the exhibition takes its title from Bensho’s poem “Kewe nete,” in which the act of drawing kené becomes an act of spiritual transmission: to sit down and design is to make the fingertips glow.

On view through August 29.

LiviaBenavides

william córdova - “Dynasty ES-555 II (oblitas oblitas oblitas)”, 2024

Executed in charcoal, ink, and gold leaf, córdova constructs a monumental gesture that recovers suppressed memories: oblitas oblitas oblitas, Latin for “the forgotten ones”, inscribes a reflection on cultural resistance and marginalized history.

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“Dynasty ES-555 II (oblitas oblitas oblitas)”, 2024
Charcoal, ink, and gold leaf on paper
127 × 274 cm

Inauguración Sala de Proyectos: “Li-Visión” de Wuantxu Shenyi.

Miércoles 12 de Agosto | 7:30 pm | Malecón Pazos 252, Barranco – Lima, Perú

¡Los esperamos!

Si están en Lima, no dejen de visitar la muestra de Sandra Gamarra Heshiki en Museo de Arte Contemporáneo de Lima “Construcción de los hechos”, abierta hasta el 4 de octubre.

El trabajo de Sandra Gamarra Heshiki (Lima, 1972) es emblemático para aproximarse al arte contemporáneo peruano y global en su dimensión crítica y reflexiva, un indicio para observar las transformaciones globales de la idea de arte ocurridas en lo que va del siglo XXI.

En esta exposición el presente y el pasado del Perú se dan la mano a través de un arco que tensa el presente con más de cuatrocientos años de historia. El acontecimiento elegido es la protesta ciudadana reciente, entre 2022 y 2025, en la que perdieron la vida cincuenta personas en Lima y el sur andino. Otros referentes son la muerte del inca Atahualpa en noviembre de 1532 y escenas costumbristas de Pancho Fierro. Sandra toma imágenes de distintas épocas, pinturas y fotografías, para convertir lo poético en histórico, lo visual en político.

La artista usa el archivo, la cita y la apropiación. “Construcción de los hechos” ha requerido la colaboración de fotógrafos, pintores, videastas, y el trabajo en cerámica de Rosalía Tineo y Darwin Límaco, imagineros del sur andino, quienes cocieron el barro en hornos según su tradición. Las piezas fueron luego sometidas a un proceso de fragmentación, reciclaje y montaje. La instalación y el mural, pintado con barro, construyen un memorial que grafica la tensión permanente entre pasado y presente.

Curaduría: Augusto del Valle

Abierta hasta el 4 de octubre

Ximena Garrido-Lecca’s The Core Systems series departs from a precise historical premise: early computer systems relied on artisanal weaving techniques for information storage, and women played a decisive role in that technological development. By intertwining hand-made wool, cotton, and palm fiber ropes with copper strips, Garrido-Lecca transforms the textile structure into a material argument against the supremacy of Western and patriarchal knowledge, reclaiming other ways of understanding and relating to the world.

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“Core Systems XVI”, 2026
Wool and copper
64 × 42 cm

Alexander Apóstol presenta “PARTIDOS POLÍTICOS DESAPARECIDOS”, una serie que toma como punto de partida el diseño de papeletas electorales en Venezuela después de 1958, concebidas para hacer legibles las opciones ideológicas a través del uso del color.

A medida que los partidos perdieron claridad ideológica y credibilidad, el color dio paso al texto y a la imagen. Alexander Apóstol invierte este proceso eliminando textos e imágenes, dejando únicamente la paleta cromática, como un testimonio del pluralismo que alguna vez existió y del legado del arte constructivo como herramienta de control político.

Esta serie, presentada en la exposición “Postura y geometría en la era de la autocracia tropical” en el Museo CA2M (CA2MCentro de Arte Dos de Mayo ), comisariada por Manuel Segade, forma parte de la muestra actual “Quítate tú pa’ ponerme yo!”, abierta al público.

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(1) De la serie “PARTIDOS POLÍTICOS DESAPARECIDOS” - “FP Fuerza Popular - Elección 1998”, 2026
Impresión fotográfica digital sobre papel de algodón
125 x 125 cm

(2) De la serie “PARTIDOS POLÍTICOS DESAPARECIDOS”- “Elección 1983”, 2026
Impresión fotográfica digital sobre papel de algodón
75 x 75 cm

(3) De la serie “PARTIDOS POLÍTICOS DESAPARECIDOS” - “Elección 1983, FP Fuerza Popular - Elección 1998”, 2026
Instalación mural compuesta por dos impresiones fotográficas digitales sobre papel de algodón, acrílico sobre madera y una pintura mural
372 cm x 264 cm total

Andrés Pereira Paz’s work regularly takes the form of textiles that explore the circulation of people and materials and how it affects national, regional and global imaginaries, revealing the construction of culture to be an ongoing and often contradictory process.

His work examines postcolonial issues from an Andean perspective, particularly from his hometown in Bolivia and from Peru. The artist frequently draws on Andean art history, spanning both pre-Columbian and colonial periods, reworking these references into contemporary interpretations. His practice engages with the rich and layered nuances of the region’s cultural history.

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”Marina III (From the series Pesadillas desde el río Hamza)”, 2026
Hand-sewn upholstery velvet appliqués on linen, vintage silverware
100 x 80 cm

Brus Rubio Churay (Pucaurquillo, Loreto, 1983), is a self-taught painter from the Murui (Huitoto) and Bora indigenous peoples of the Peruvian Amazon. He began painting on llanchama, a type of cloth made from the bark of the ojé tree, using natural dyes from his farm.

Drawing on the songs, visions, and oral histories of his ancestors, Rubio’s paintings celebrate biodiversity, communal life, and sacred rituals while preserving ancestral knowledge through a contemporary visual language. His practice also addresses urgent social, historical, and environmental issues, reflecting on the protection of the Amazon and the cultural memory of its Indigenous communities.

Through this dialogue between tradition and the present, Rubio invites viewers to reconsider humanity’s relationship with nature and our shared responsibility to preserve life in all its forms.

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”Danza del mono”, 2025
Acrylic on canvas
91 x 119 cm

We are placed to announce the unveiling of the “Golden Crop”, High Line Art
“Ximena Garrido-Lecca (Lima, 1980) uses sculpture and installation to make visible the complex relationship between Indigenous knowledge, colonial history, and modern technological and industrial systems. Although her practice stems from the historical landscape of her native Peru, she establishes connections that transcend borders to reflect on the global impact of resource exploitation.

For The High Line, Garrido-Lecca presents *The Golden Crop*, a bronze water fountain in the shape of an ear of corn. Corn is one of the most important crops in the global economy and holds a central place in pre-Columbian mythology: it was considered the origin of humanity by the Aztecs and the Maya. Today, much of the world’s corn is genetically modified to tolerate pesticides such as glyphosate, whose harmful impact on human health and the environment has sparked widespread debate.

For the work, Garrido-Lecca dyes the water that trickles down the kernels a neon yellow, referencing the toxic hue of this chemical and its effects on our water sources. The artist highlights how industrial agriculture and genetically modified corn have displaced or weakened native varieties that carry a deep cultural heritage. *The Golden Crop* invites viewers to reconsider the social, health, and environmental costs of our interconnected modern world.” - The Highline Art, NYC

Currated by Cecilia Alemani