Sculpture Garden

Curated by Max Hernández Calvo

The Sculpture Garden brings together the work of young artists who reflect on the relationships between open space, nature, landscape and architecture, as a response to the same spatial characteristics of the section, presented in the front garden of the Casa Prado.

Casa Prado’s Garden recreates, on a very small scale, a mountains and lake landscape (including a grotto and a Virgin Mary image) that dialogues with the house’s architecture. Taking this peculiar location as the starting point, the Sculpture Garden brings together the work of thirteen artists who reflect on the complex relationships between two opposing concepts: the natural and the cultural, the artisanal and the industrial, the findings and the constructed, the intentional and the accidental, which, nevertheless, suggest that they are part of the same continuum.



Álvaro Icaza and Verónica Luyo (Galería Crisis) trace a tour of the garden through sounds that evokes whistles and birdsongs. Santiago Roose (Galería Puro) works as a totem that summons our anxieties about nature. Karlo Andrei Ibarra (Galería Vigil Gonzáles) reworks the Virgin Mary image as a religious and cultural figure in which revelation, message and indoctrination converge. Ana Cecilia Farah (O’Art Project) confronts the industrial, the natural, the organic and the inorganic by intervening classic art forms. Antonio Ballester (Galería Pedro Cera) articulates the natural and the artificial in the image of a river. Gwladys Alonzo (Revolver Galería) associates art and waste with construction processes and materials. Los Carpinteros (LGM Galería) allude to industrial waste and manual labor by recreating a rusty nail. Illiana Scheggia (La Galería) refers to the past, present and future with its forms and materials. Elena Damiani (Revolver Gallery) creates a cut in chronological, geological and human time in three dimensions. Sol Bailey Barker (Now Gallery) associates the industrial and the ancestral under a totemic form. Vivana Balcázar questions the standard forms of public space by parodying its emblematic elements. Kinshiro Shimura ironizes the illusions of the present with realistic forms on the verge of the absurd.


Max Hernández Calvo.



Max Hernández Calvo

He is an independent curator and art critic. Among his recent curatorships are the retrospective of Alberto Borea "Arqueologías del presente y poéticas de la ciudad” (Archaeologies of the present and poetics of the city), co-curated with Adriana Tomatis; and the retrospective of Fernando Bedoya, "Artist in Residence" (both 2022). He recently published the book "El mañana fue hoy. 21 años de videocreación y arte electrónico en el Perú" (Tomorrow was today. 21 years of video creation and electronic art in Peru), co-edited with José-Carlos Mariátegui and Jorge Villacorta (2018).