Amazonian Indigenous Artists as Agents of Interface: Artworks, Networks, and Curation Strategies in the COVID-19 Crisis

Abstract

In this article, I analyse how the COVID-19 crisis crystalised and fuelled the vigorous role of Amazonian indigenous artists as, what I call, “agents of interface”, enabling connectivity, translation, networking and bridging information, ontologies, claims, and aesthetics. With the pandemic’s spatial restrictions and the reduction of global activity in the arts with a return to focusing on the local, I argue that it is important to look at interfaces as arenas from which to understand further reconfigurations, actions, and values in the arts. Based on the project and exhibition Ite!/Neno!/Here!: Responses to COVID-19 co-curated by the indigenous artist Rember Yahuarcani and me, and on other various initiatives, this paper explores how Amazonian indigenous artists became crucial agents of the interface in four main arenas providing first-hand, real-time information of the impact of COVID-19 at Amazonian urban and rural settings, channelling networks of aid and curation, connecting different agents and worlds, and engaging in curatorial collaborations. I argue that by acting at the interface, artists have reinforced their voices, while pushing for redefinitions of and positions in the art system and suggest that the COVID-19 crisis has introduced a new moment in the configuration of Peru’s art scene.

Research on the Spatial Renovation Design of the 798 Art District and Ullens Centre for Contemporary Art Guided by Gordon Cullen’s Methodology

“…[2] In contrast, Zhang (2020) critically evaluates Cullen's methodologies from the standpoint of modern Asian cities, suggesting necessary adaptations for high-density urban environments. [3] This dialogue between theory and practice is further enriched by comparative studies like those of Borea (2023), who examine the transformation of Madrid's Matadero art district, revealing strategies pertinent to the 798 District, particularly in merging historical architecture with modern art. [4] Similarly, Albannaa's (2019) research assesses the socio-economic impacts of such transformations, using London's Tate Modern as a benchmark.…”

“…[3] This dialogue between theory and practice is further enriched by comparative studies like those of Borea (2023), who examine the transformation of Madrid's Matadero art district, revealing strategies pertinent to the 798 District, particularly in merging historical architecture with modern art. [4] Similarly, Albannaa's (2019) research assesses the socio-economic impacts of such transformations, using London's Tate Modern as a benchmark. [5] These global perspectives provide a framework for understanding the application of Cullen's principles in spaces like the 798 Art District, as seen in Thompson's (2022) analysis of New York's High Line, which highlights how urban redevelopment can alter visitor experiences.…”