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Mariu Palacios"Ejercicios hacia Paracas" print, red and white, pattern2024
2024
$5,500
£4,091.55
€4,797.03
CA$7,692.45
A$8,588.84
CHF 4,506.47
MX$106,001.51
NOK 56,646.96
SEK 53,003.28
DKK 35,786.63
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About the Item
A woman picks at herself in the mirror, searching for a wound and finding only a scar.
She feels like a scar — like a numb, deafened stump. Not long ago, she had lost her father, and the pain had seemed like an immense, impassable lagoon of unasked questions, unspoken words, and unexpressed feelings. Now, exhausted from grief, she was almost inert. Sometimes she tried to rebel, but there was no way. Pain always won. Nothing led to anything anymore; all the connecting vessels had suddenly atrophied, isolating her, drowning her in herself.
How does one escape oneself?
“Tajo abierto” is, therefore, more than an art exhibition — it is a meditation on loss. On how, sometimes, pain seems like a dormant, hidden muscle that needs so little to start thrashing again, sinking its sting into us once more. Each piece is a fragment of that struggle to break free from paralysis, the effort to restart time.
“I can’t stop weaving,” Mariu told me one day, in the midst of her mourning. I suggested she shouldn’t stop, that she should intervene as much as she could. And so, the entire house became covered in a dense veil. Everything within it became entangled in an intricate, difficult membrane — one that could very much resemble grief itself. And so, in each of these works, the very remnants of loss take center stage. Here are the dozens of her father’s shirts that had remained there, untouched, their collars, cuffs, or pockets still distinguishable. And over them, the weaving spread voraciously, like dark, viscous saliva, covering everything.
She carried them this far; and with this handful of scars, in a corner of a distant city, she has built the most luminous mourning.
Text by José Falconi, curator of A Tajo Abierto
She studied plastic arts at the Instituto Corriente Alterna in Lima, Peru from 1997 to 1998, then studied at the Art Institute in Miami, Florida from 1998 to 2001 where she graduated with first place in the specialty of painting. From 2003 to 2007 she participated in various courses and workshops in painting, drawing, human figures, and sculpture at the Instituto Corriente Alterna in Lima, Peru. In 2011 she took a sculpture course focused on human figures at the Tel Aviv School of Art. Since her childhood and until early adulthood she has lived in many areas of Peru, from the south, the Amazon, in the highlands, coasts, and the national capital, Lima. In 2015 she participated in the art fairs Art Pulse in Miami, USA, and Art Lima in Lima, Peru; later, in 2017 she participated again in Art Pulse in Miami, USA. 2018 she presented “Fake Concrete” at Ginsberg Gallery in Lima, Peru. Years later in 2022 presented again in the Ginsberg Gallery “7 Lobsters and a Mirror” and “Tuyo” in the Aparador Gallery, in Mexico City, Mexico. In 2023 she presented “Tuyo” at Xavier Fiol Gallery in Madrid, Spain, and the same year, together with CAM Gallery, she presented her work at the Zona Maco art fair in Mexico City, Mexico. In early 2025, she will present “A Tajo Abierto” at CAM Galería and participate in the Zona Maco art fair next to CAM Galería in Mexico City, Mexico.
Her work can be found in international collections such as 21c Museum, Hochschild, Brescia-Hoffman, Collection of the Pinacoteca Municipal Ignacio Merino, Board Member, New Museum of NY, Susana Fontanals, COO CIFO, Cisneros-Fontanals Art Foundation, EFC Holdings, Deutsche Bank, Prince Albert of Monaco, Lolas Family, Ofer and other private collections such as Bruno Rauffaer, Ramon Sauma Hananias, John Friedman, Rebecca Moores, Rey Nasser, Johanna Berdugo, Elia Tasca, Victor Leyton, Roberto Burstein and Susana de la Puente.
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