Feria Material 2025
Crisis participates for the fourth time in Material Art Fair with a selection of works by Pierina Másquez and Fernando Nureña. Both projects share a reflection on how individual experiences can resonate in broader contexts and how collective stories can be rewritten from personal perspectives. This connection between the intimate and the collective, as well as the capacity of their works to generate new interpretations and meanings, contributes to the dialogue on identity, memory and society.
Pierina Másquez, Forms Essay (Fragmented Union), ceramics and pigments, 12 x 40 x 10 cm, 2025
PIERINA MÁSQUEZ (Chiclayo, 1993)
Visual artist, interested in contemporary artistic research and the development of collective curatorial projects.
In her work, the possibilities of approaching a space and an object are manifested through interest in the affective and spatial memory generated by a series of personal belongings, materialities and local events. Thus, it seeks to establish links between objects, circumstances and people to think about the relationships between work and gender. A piercing, her mother’s hand, a Chinese calendar of the year of the dog, a local store or a plastic tablecloth are elements that allow her to reflect on the socioeconomic dynamics constructed during her daily life in the city of Lima, the affective condition of the object and its local distribution. As a result, the set of works are simultaneously personal and public, intimate but political, they are portraits of time and places that show their own experience.
On this occasion she presents a series of pieces that are part of the Invisible Women’s Union project (never desired, always desiring), which seeks to reinterpret the meaning of the concepts home-woman-work-desire. Thus, the reconstruction of a domestic space is proposed as a scene of intimate encounters where the female characters, liberated and rebellious, inhabit a post-capitalist utopia by organizing themselves in imaginary unions while they dance irrepressibly looking for new forms of resistance, dreaming of other possible worlds.
FERNANDO NUREÑA (Lima, 1993)
In recent years, Fernando Nureña Cruz has been working from looking at specific historical moments or events through the analysis of various sources: press photographs, newspaper clippings, political graphics, family albums, etc.
This time, however, he brings together a group of works that do not necessarily come from a common source. They are not exactly “B sides” of any project, but rather something like the hidden tracks that we sometimes find after finishing listening to an album. Works that do not appear in the official list, but that surprise from the moment their first chords begin to sound. These paintings present his own interpretations of press fragments, photographs taken by himself, works by other artists, Instagram screenshots, graphic elements found when looking at books, etc. The set allows us to get to know more closely the particular gaze that Fernando directs towards the archive, what captures his attention. Although the theoretical and ideological premises that articulate his projects appear more clearly in some of the paintings here, they seem to have been put in parentheses. Thus, each work invites us to imagine larger projects or series of which today only a few visible pieces exist, as potential investigations into the visual worlds that each one condenses.
Fernando Nureña, Voice and feeling, oil on linen, 22.5 x 30 cm, 2024/2025