A través. Todo pasa. Todo sigue
ICPNA Cultural, Miraflores, Lima-Perú
24 July- 02 September 2024
Installation View, A través. Todo pasa. Todo sigue
Transcripción N13
2024
Transcripción N13 is part of a series based on notes taken from virtual conversations during the pandemic. The written dialogue is translated into a three-dimensional space to be navigated by the body. What was said, or transcribed, is now secondary; the sensory relationships and new meanings now take centre stage.
Constelaciones Carbónicas
2022-2024
From an intuitive process, the series Carbonic Constellations comes to life, with nine pieces chosen for this exhibition. Sánchez draws from an accumulation of documents in her environment and from her family archive to craft a universe that takes shape in fragments of carbon copy paper. On each piece, overlapping words, phrases, and images from various times and places converge. The resulting forms are inspired by maps of astronomical constellations, reflecting her way of finding her place in the world around her.
Residua
2024
In situ installation
Drawing derived from carbon copy paper
11 x 2 mts approx.
In a process similar to that of constellations, this mural originates from grouping different layers of a visual universe of words, phrases, and images onto a single plane—the wall. While the body of constellations is the carbon paper itself, in this case, it is the residue that results from the process of tracing with that material. It is depicted here as an ephemeral residue, whose existence is confined precisely to the duration of this exhibition.
Oscuridad Protegida
2024
Found typewritten carbon copy paper on light boxes
Oscuridad Protegida is born from a set of found carbon copy paper sheets that contain traces of multiple illegible typewritten documents. When illuminated from behind, they generate ecosystems of light. In these landscapes, the punctuation marks on the paper—the only recognisable elements—act as stars. Sánchez associates this piece with so-called protected dark zones, areas free from light pollution, where the night sky can be observed more clearly.
En búsqueda del Falaropo Picofino
2024
In situ installation
Colour pencil drawing on wall
The scientific description of a bird that migrates annually from the northernmost corner of the United Kingdom—a 60-inhabitant island in the Shetland archipelago, Scotland—to Peru, traverses part of the gallery space and enfolds the rest of the pieces in the exhibition as a metaphor for migration and identity. The universe Sánchez creates from pieces that challenge language structures and explore new paths, is protected and validated by a species that migrates and mirrors the same journey Sánchez has been undertaking for over twenty years.
Migración lunar
2024
Sound piece
Recordings: Lizi Sánchez y Alberto Sánchez Nué
Composition: Rafael Pérez y Lizi Sánchez
Length 7’ 18”
*In collaboration with Chilean musician Rafael Pérez, this composition originates from Sánchez’s sound recordings on the island of Fetlar, Scotland, during a trip in search of the Red-necked Phalarope, a bird that migrates annually from the United Kingdom to Peru. The premise for this creation is to reimagine this migration by drawing on the theory of the dissident scholar Charles Morton, who in the late 17th century proposed that birds migrated to the moon. Today considered a fantastical theory, it was formulated at the time as the first treatise on bird migration in England.
A través. Todo pasa. Todo sigue
Language is broken down and extracted from its context. It is relocated to a space that generates new forms and new meanings.
The body of work presented in this exhibition was conceived by Lizi Sánchez (Lima, 1975) in London, where she has lived for over two decades and can be seen as an attempt to recognise and reaffirm a sense (or non-sense) of belonging. She does this through texts and images from written memory, which, when disarticulated or overlaid, create a universe organised in diachrony that transcends conventions, orthodox language and its structure.
A tangle of illegible words extracted from a past conversation, the scientific description of a bird that migrates from the United Kingdom to Peru, and a musical composition accompanying it, objects in the form of constellations derived from astronomical maps, and others exhibited as light landscapes, all acquire a common denominator here. Carbon copy paper is assigned special significance, whether as the core material of the created object or as a means of transmitting content, as in the case of the murals produced specifically for this show. A filtering material that retains and transmits and perhaps reflects an interest in returning to an analogue system.
We are faced with a new form of communication, realised through an intuitive and poetic process. The sense of belonging in this universe is where Sánchez finds comfort (in synchrony), as she navigates the disconnection from her place of origin and her adaptation to one that never fully becomes her own.
Cecilia Pardo Grau
Lima, July 2024
A través. Todo pasa. Todo sigue. ICPNA Cultural, Mirafloes, Lima, Peru, texts and curated by Cecilia Pardo Grau. Photos by Juan Pablo Murrugarra.