Roses have always been tied to women and beauty,
but also, deeply to life and death,
in different moments of a cycle
reflecting both
the lunar and menstrual calendar.
These roses, strong, sensual, and wilted,
could symbolize their journey toward death,
in a struggle between Eros and Thanatos
to which they were subjected.
A lived agony on the soul’s descent.
Carmen’s art is akin to a layered puzzle, interwoven with themes that plunge deep into the cores of femininity, mutilation, and the complexity of human identity. She delves into the politics of the body, ripping apart preconceived notions and sowing seeds of new meaning. This interest isn’t just a personal quest, it’s a societal probe. Through performances scattered across Lima’s urban landscape, Carmen transforms the everyday citizen into an unwitting actor. Her art is less of a statement and more of a conversation; a dialogue between the self and society, rooted in the power dynamics that shape our lives.
Her odyssey as a multimedia artist began at the prestigious National School of Fine Arts of Lima, where she honed her techniques and conceived her artistic worldview. It’s a philosophy built from various materials—photography, mixed media, and even food—each contributing to a tapestry of thoughts and impressions. Like a chef mixing contrasting flavors, Carmen often combines the whimsical with the somber, the trivial with the significant. And much like a meal evokes memories and emotions, Carmen’s works are drenched in her own recollections, myths, and the intricate symbolism that adds layers to her creations.
Over the years, her art has manifested through various exhibitions—solo and group—each carving a distinct mark in the art landscape. “OFRENDA” at the Pancho Fierro Gallery in Lima in 2018 explored rituals and offerings, while “LA GUERRA Y LA PAZ” at Micromuseo delved into the tumultuous oscillation between war and peace. Yet, each work, each exhibition, is a chapter in a continuous narrative that aims to challenge, engage, and transform.
As you wander through her latest works at the Saatchi and Saatchi Focus Art Fair, remember that Carmen Reátegui is not just showcasing art; she’s sharing a world built through introspection and social critique. Each piece is an invitation to question, to participate, to unravel the threads that bind us. In a world often marred by depersonalization, Carmen’s art cries out for a moment of humanity, asking you to step beyond your role as a mere observer and become an actor in the ever-evolving drama of life.
ABLACIÓN
No me miréis con desprecio
Solo es una Ablación
No me miréis con desprecio,
Si arrancada de la vida;
satisfago ansias extrañas.
No me miréis con desprecio
si las mareas fluyen en corrientes contrarias
No me miréis con desprecio.
Mi cuerpo horadado, por usanzas de siglos.
No me miréis con desprecio
Sólo es una ablación