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Natalia ist sex\n\nInstallation image

Explore Natalia Revilla’s evocative Peruvian art! Known for ‘Apipakótene,’ her work blends Andean traditions & contemporary expression, capturing unique cultural narratives.

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A photographic installation that blurs the boundary between writing and image. Every letter of the title is a separately framed work made of a few or a dozen or so images showing the intimate relations of Natalia and Andrzej Lachowicz, one of the most tempestuous couples of Polish conceptual artists. In accordance with the German title: Natalia ist sex, the bold erotic photos (close-ups of genitals and bodies in erotic fervour, inspired by pornographic aesthetics) record what they represent. Considered against the expansion of the English language in the arts in the 1970s, the use of German may be seen as an attempt to emphasize the local tradition (the artists live in Wrocław). [A. Markowska]A photographic installation that blurs the boundary between writing and image. Every letter of the title is a separately framed work made of a few or a dozen or so images showing the intimate relations of Natalia and Andrzej Lachowicz, one of the most tempestuous couples of Polish conceptual artists. In accordance with the German title: Natalia ist sex, the bold erotic photos (close-ups of genitals and bodies in erotic fervour, inspired by pornographic aesthetics) record what they represent. Considered against the expansion of the English language in the arts in the 1970s, the use of German may be seen as an attempt to emphasize the local tradition (the artists live in Wrocław). In contrast to many other erotic photographs by the artist in which she used nude female models, the photos in Natalia ist sex record the performance of the artist and her partner. The pioneering balancing between the nude (the so-called “high art”) and pornography and peep show (something obscene and low); the decisive turn to the so-called new media (abandonment of painting); and the act of making the intellectual and cold conceptual art corporeal secured an important place in the history of Polish art for the artist. Paweł Leszkowicz claimed that she unmasked “the decorative and patriarchal nature of eroticism in the so-called photo-media activities,” revealing their hypocrisy. Similarly, Łukasz Ronduda emphasized the sensual character of her conceptualism, and also noted that in Permafo (1970-1981), the gallery run by the couple, they introduced the rule of combining the exhibition of artists’ works with the presentation of their photographic image. The photography of Natalia LL not only records and shows, but – through its permanent use – penetrates life.The feminist interpretation by Małgorzata Jankowska connects Natalia ist sex with the later work of the artist, Transfiguration of Odin I (2009), where she presented her ex-husband and lover as an omnipotent, but elderly naked god, with marked signs of old age and tiredness. In this configuration, it was Natalia LL who retained, or even took over the power from her partner, and who ruled, conscious of her erotic energy and of the passing of time, which she manages to stop by her art. [A. Markowska]

Artist Biography

Natalia Revilla: Echoes of the Andes in Contemporary Art

Natalia Revilla, a Peruvian artist born and working in Lima, is a compelling voice within contemporary South American art. Her work isn’t merely visual; it's an immersive exploration of cultural memory, indigenous narratives, and the complex relationship between humanity and the natural world. Revilla’s artistic journey is deeply rooted in her Peruvian heritage, drawing inspiration from the rich traditions and profound symbolism of Andean civilizations – a lineage she meticulously investigates through a unique blend of meticulous technique and poignant conceptualization.

Revilla's artistic practice is characterized by a deliberate layering of techniques. She frequently employs paper cutting, embossing, burning, and ink—a potent combination that creates textured surfaces brimming with visual and tactile interest. This isn’t simply decorative; each element carries symbolic weight, reflecting the artist’s engagement with themes of epistemicide – the systematic erasure of indigenous knowledge – and the inherent ambiguities within communication when attempting to understand cultures vastly different from one's own. Her process is deeply meditative, a dialogue between herself, the materials, and the stories she seeks to convey.

Tracing Influences: Andean Roots and Beyond

Revilla’s artistic vision is undeniably shaped by her Peruvian roots. The legacy of pre-Columbian civilizations – the intricate artistry of the Inca, the vibrant textiles of the Moche, and the profound spiritual connection to Pachamama (Mother Earth) – permeate her work. However, she doesn't simply replicate these traditions; instead, she critically engages with them, questioning Western paradigms that often prioritize dominance and control over a more reciprocal relationship with nature. This engagement is further informed by a keen awareness of contemporary social and political realities in Peru, particularly the ongoing struggles faced by indigenous communities.

Beyond her immediate cultural context, Revilla’s work also demonstrates an appreciation for artists who have similarly explored themes of memory, trauma, and social justice. The influence of artists like Ovidio Murguía de Castro, known for his powerful Social Realist paintings depicting Indigenous life in Ecuador, is evident in Revilla's commitment to representing marginalized voices and challenging dominant narratives. Similarly, the meticulous documentation of indigenous cultures by Karl Bodmer, a 19th-century German explorer, speaks to Revilla’s own desire to preserve and honor cultural heritage.

“Apipakótene (The Other Hand)” – A Key Work

"Apipakótene (The Other Hand)," created in 2016, is arguably Revilla's most significant work to date. This piece exemplifies her signature style—a complex interplay of paper cutting, embossing, and burning—to create a layered visual narrative. The title itself – “Apipakótene” – refers to a Quechua term signifying the "other hand," representing the unseen or marginalized perspective. The artwork explores themes of communication breakdown, cultural misunderstanding, and the importance of acknowledging alternative viewpoints. It’s a powerful meditation on the challenges of bridging divides and fostering genuine empathy.

The work was exhibited at ARTBO 2024 in Bogotá, where it garnered significant attention for its evocative imagery and thought-provoking commentary. Revilla's participation in this international art fair further solidified her position as a rising star within the contemporary Peruvian art scene.

Current Development & Future Directions

Currently, Natalia Revilla continues to push the boundaries of her artistic practice, experimenting with new materials and techniques while remaining steadfastly committed to her core themes. Her work has been featured in exhibitions across Peru and internationally, including a solo show at RoFa Art Gallery in Lima. She is deeply invested in exploring the complexities of indigenous knowledge systems and advocating for cultural preservation through her art.

Looking ahead, Revilla’s artistic trajectory suggests a continued focus on social commentary, environmental awareness, and the power of visual storytelling. Her unique blend of traditional techniques and contemporary concerns positions her as an artist to watch – one who is not only creating beautiful works of art but also contributing meaningfully to critical dialogues about identity, history, and the future.

Quick Facts

  • Artistic Movement Or Style: Andean traditions & contemporary expression
  • Full Name: Natalia Revilla
  • Nationality: Peruvian
  • Notable Artworks: ['Apipakótene (The Other Hand)']
  • Place Of Birth: Peru