Andrés Argüelles Vigo

La résurrection d'Atahualpa / The resurrection of Atahualpa Acrylic on canvas with perforated bible with red led light. 2 x 3 x 9 m Proyecto AMIL, Lima, Peru. 2019 — **La résurrection d'Atahualpa** / The resurrection of Atahualpa Acrylic on canvas with perforated bible with red led light. 2 x 3 x 9 m Proyecto AMIL, Lima, Peru. 2019

Andres Argüelles Vigo is a visual artist whose work is based on the appropriation, deconstruction and intervention of iconographies and discourses in the history of art, mostly through painting, in order to construct new historical discourses with artistic information from the past.

My work starts from a center: painting, and from there my creative process leads to questions about local painting and its relationship with the history of Western art.

La résurrection d'Atahualpa / The resurrection of Atahualpa

Reinterpretative painting of the historical work "Funerales de Atahualpa" (Montero, 1865). In which the Inca is placed resurrecting as a reference to Jesus Christ. Ironically, near her is a Bible pierced into the ground, an object that Atahualpa rejected by throwing it to the ground and which was the reason for his death sentence.

Trono de plástico / Plastic throne

Part of the exhibition "I had a dream where I was a King", where the meaning of the plastic chairs "Rey" is appropriated and reconstructed to symbolize the irony of the reproduction of a glamorous and unique European title of the King in a massed product and cheap.

In this case, the Rey brand plastic chair, is decorated to live up to its title.

The art of making stupid choices Acrylic paintings on canvas 3.40 x 6.54 m Ginsberg Gallery, Lima, Peru. 2019 — **The art of making stupid choices** Acrylic paintings on canvas 3.40 x 6.54 m Ginsberg Gallery, Lima, Peru. 2019

The art of making stupid choices / L'art de faire des choix stupides

As part of the installation, "The art of making stupid choices" These paintings line the main walls of the gallery. The paintings are of character details from war-scene fills and characters representing defeat and awkwardness in Western historical paintings, mixed with cartoon characters depicting the same shortcomings. Of course, the artist is also portrayed with them.

And from that relationship, I constantly reflect on the colonial processes of my context, the power of art and its capacity for persuasion from a system of power, the definitions of tradition and avant-garde that contemporaneity pose, and the influence of art on the market (or the other way around).

La palabra es… / The word is ... Neon lights 90 x 70 cm Ginsberg Gallery, Lima, Peru. 2019 — **La palabra es…** / The word is ... Neon lights 90 x 70 cm Ginsberg Gallery, Lima, Peru. 2019

Detecting ironies, paradoxes and contradictions that add to a huge loop of questions about what is art in history, or history in art.

La palabra es… / The word is ...

Part of the project "There is nothing beyond the text", this phrase claims the subjectivity of definitions and identities in a rigid system of meaning and signifier of artistic processes.

Túpac Amaru, ¿con sombreo y sin sombrero? / Túpac Amaru, with hat and without hat? Acrylic on canvas, empty frame and hat. Variable measures, PUCP cultural center — **Túpac Amaru, ¿con sombreo y sin sombrero?** / Túpac Amaru, with hat and without hat? Acrylic on canvas, empty frame and hat. Variable measures, PUCP cultural center

Also, I like to paint.

Túpac Amaru, ¿con sombreo y sin sombrero? / Túpac Amaru, with hat and without hat?

With a great political propaganda campaign carried out by the Velasco Alvarado government (1968) in Peru, with various artistic contests to configure an image of Túpac Amaru, all were left deserted and a consensus was never reached on how to build his image. However, in the process, the hat, the spear, the medallion and the horse were elements that marked the character so much that they already portrayed him, despite the fact that these elements contradicted each other.