"A character with her face covered by a red cloak and her body wrapped in a white blanket forming a peculiar geometric configuration, stands in the middle of a berm dividing a heavily traveled road; her dehumanized silhouette ripples in the wind. Her reckless quietness defies the street's agitation and violence.
Another character, this time with her face uncovered, standing on the shore of the sea, evokes a sort of strange bishop or a surreal image of a nun. The character spits milk in a gesture with maternal, sexual and confrontational overtones, swims into the sea and disappears from our sight.
In this briefly described video-performance, Bazo's characters are also abstract forms, symmetrical figures whose silhouette mark their actions. In a way, the forms themselves "perform." Bazo alludes to sewing, design and behavioral patterns. Each form limits the possibilities of action: it limits or facilitates certain movements and responses to the environment. In that sense, rather than hiding, her characters." Max Hernandez, curator.
1988 - 1993 Pontificia University Catolica of Peru / Faculty of fine arts, Bachelor in Painting 1993 - 1998 Akademie der Bildenden Kunste, Munchen / Prof. Weisshar.
2019 Forum Gallery, Lima / "Sin Fronteras" 2019 Escuela Militar de Chorrillos, Lima / Art Lima- 0-Art Project 2019 Grand Palais, Paris / Art Paris-Project Room, Curator: Valentina Locatelli 2018 Scope Miami / Miami 0-Aft Project 2018 Galeria Cecilia Gonzalez Arte Contemporaneo, Lima / Gallery Weekend 2018 La Rural, Buenos Aires / BA Photo 0-Art Project 2018 MAC Museo de Arte Contemporaneo, Lima / Parc-O-Art Project 2018 Scope Basel / Basel 0-Art Project 2017 Scope Miami / Miami X-Change Art 2017 Forum Gallery, Lima / Colectiva 2017 Escuela Militar de Chorrillos, Lima / Art Lima - Cede Gallery 2017 Cede Gallery, Lima / Muestra de arte contemporaneo 'Transversal' 2016 TEA, Tenerife / Espacio de las Arles - Sala de Proyecciones. Festival Espacio Enter Artechmedia Canarias 'Introspective' 2016 Cede Gallery, Lima / Solo Show 'Patrones' 2016 Andrew Feedman Gallery, New York / Bienal Latinoamericana del Bronx
Alessandra Rebagliati returned to Lima after a journey of 13 years that took her to various cities in Europe. In 2006 She obtained a Master's degree in Fine Art at Central St. Martins College of Art, (London). With the collective VERN she held exhibitions in galleries in Madrid, Berlin, Hamburg, San Francisco, Walker Point Center for the Arts in Milwaukee and 55 Mercer Gallery, New York. Her first solo exhibition "Mental Landscapes" took place at the Vértice Gallery, Lima in 2008. In 2009 she presented a video installation "A Shed and a Half" Gallery in London. Her second show “The Game and the illusion" was held at the Inca Garcilaso de la Vega Cultural Center. In 2012 she participated in 'Código Postal' and 'Paisaje en Ruinas' as part of the Lima Photography Biennial. In 2016 she had her 3rd solo show at Socorro Espacio Polivalente, 'The Space between Things'. She created the collective X-Change Art Project which later became OArtProject with whom she has recently participated in fairs such as Feria del Este 2019, ArtMadrid 2019, BAPhoto, Odeon Bogota 2017, PARC Lima 2018, Scope Basel 2018, etc.
Pollarolo and her work enter a deep, and often conscientious, philosophical dimension. In this revealing space, spherical shapes repeat, intertwine, and connect, forming a molecular community and place of unity; one that acknowledges our place and relationship with the vast universe and that would otherwise be invisible to the naked eye.
Gianna Pollarolo de la Lama lives and works in Lima, Peru, her native country. She is a graduate of the Pontificia Universidad Catolica with a Bachelor's Degree in Fine Arts specializing in painting and has been a finalist in the X National Contest of Young Artists (1995). She has served as director of Signos Gallery in Lima from 1993 to 1995 and her work has been exhibited in museums and fairs in Peru and abroad including: FIA (Feria Iberoamericana de Arte); Art Miami; ARCO, Spain; PARC, Lima; Art Lima, Lima; Open Studios Barranco, Lima; Odeon, Bogota; Scope, Miami. Pollarolo's work has also been included in the 8th International Biennial Print & Drawing, Taipei Fine Arts Museums in Taiwan and has taken part in numerous group and individual exhibitions in Galeria Forum (Lima), Cecilia Gonzalez (Lima), Galeria 39 (Venezuela), Galeria Sala de Espera (Colombia) among others.
Gianna Pollarolo currently works with Galeria Forum, Galeria GBGarts and 0-Art Project. She actually lives in Lima, Peru. Her work is part of private collections, such as the Manuel Santa Cruz Lopez and Hochschild collections as well as the Museo de San Marcos in Lima.
Based in Lima, MFA Parsons School of Design, BFA Pontificia Universidad Catolica del Peru, Glass Studies at Urban Glass NYC, Washington Glass, Dc Glass Works, Gent Glass, Berlin Glass.
Solo Shows in Habitante Gallery Panama, Forum Gallery Lima Peru, La Galeria Lima Peru. Awards: Oskar Kollin Fellowship New York, Parsons School of Design Scholarship New York,Helena Rubinstein Scholarship New York.
Michell CIA award Arequipa Peru. Southern Petroleum ART award Arequipa Peru. Coca Cola Company award Trujillo Peru.
Group Shows ,Humbolt Palace Berlin Glass box 2018 , Dresdner Bank Hamburg Germany 2017 , Eulac Hamburg 2014,Habitante Gallery 2017 Panama , Air Gallery NYC 1999.
A fan, a dictionary, some dolls, teeth, some keys, branches, etc.: an arbitrary collection of elements and vestiges of existence. Jessica Schneider brings together these emotionally invested objects and preserves them. But these fragmented objects offer just a partial picture of life.
These glass spheres that contain those objects resemble time capsules or messages in a bottle, yet they also recall the crystal balls of fortunetellers. Their contents also allude to a magical world, for they feel like the ingredients of a spell.
The artist thus makes a spell of sorts to maintain her affective link with the past, and at the same time with the future, while pointing to the enigma of time, whose riddle is that of memory and death. Before her abyss, Jessica Schneider proposes transcending the fragment of time that defines our lives, linking oracle and spell, because only from the future its possible to contemplate our past, understand it, and give it the emotional sense of a totality.