portafolio - 80m2 | LIVIA BENAVIDES

WILLIAM CORDOVA
Malecón Pazos, 252, Barranco
Lima, Perú
(51-1) 252 9146
www.80m2galeria.com
galeria@80m2galeria.com
Untitled (constellation)
10 obras en papel
2015 - 2016
Collage, tinta sobre papel
Medidas variables
A more radical elsewhere
2015-2016
con • stil • ation • s
2015-2016
De uno a otro
2015
Chaska, maya, dogon
2015
El que no tiene de inga tiene de mandinga
2015
Escudos y los códigos de ayer/mañana
2015-2016
Essex, essex, essex
2015
Many will come, many will go
2015
Untitled (recuerdos)
2015
Misconceptions (y los olvidados)
2015
Untitled (potato famine)
2015 - 2016
Collage, óleo y grafito sobre papel
73.66 x 88,9 cm
Secret life of integers
2015 - 2016
Enamel, collage, óleo y grafito
sobre papel
38,1 × 83,82 cm
Untitled (mauri, mapuche,
machu)
2015
Collage, óleo y grafito sobre
papel
50,8 × 71,12 cm
Multiple points of origin
2014 - 2015
Oro, acuarela y grafito sobre papel
90.17 x 66.04 cm
(Detalle)
S/T (naves)
2014
Polaroids
11 x 59 cm
Sin título (taki oncoy)
2014
Plumas y alambres
Medidas variables
S/T
2014
Pan de oro y cartulina sobre papel
54 x 74cm
Chaka (pa’ f.c y t.s)
2014
Óleo sobre papel
77.47 x 57.15 cm
(Detalle)
Son o no son
2014
Objetos encontrados, madera y collage
78 x 54 x 44 cm aprox.
S/T
2014
Acrílico y aceite de pintura, grafito, collage en
paper parches
57 x 63 cm
Sirius (fragmentos de modernismo)
2014
Pan de oro sobre papel
66 x 91 cm
(Detalle)
Dwellings (sculpting elsewhere in
time or Halim El-Dabh)
2014
Dos diapositivas de 35mm y audio
(grabación de vinilo LP comisionado por el
artista)
Pulsar
2014
Pan de oro y cartulina sobre papel
242 x 252 cm
(Detalle)
This one’s 4u (pa’ nosotros)
1996 - 2014
Instalación:
Estructura de madera
Proyección :
Tupac Shakur: Thug Angel , the life of an Outlaw (2002)
de Peter Spirer (audio en off)
Audio:
Tupac Amaru (1985) de Federico Garcia
Machu Picchu after dark (pa’
Victoria Santa Cruz, Macario Sakay y
Aaron Dixon)
Seattle Art Museum
2013 - 2014
Instalación
200 parlantes encontrados, dulces, pennies,
discos de vinilo, velas
Medidas variables
(Detalle)
S/T (arquitectura vernacular)
2013 - 2014
Escultura
Medidas variables
S/t (Wilka wara)
2013 - 2014
Papel estirado sobre bastidor
40.3 x 30.5 cm
Ephemeral Monuments
2013
Instalación
49 LP’s
Medidas variables
S/t (crowns)
2013
Escultura
Medidas variables
Casa de cartón (m.adan)
2013
Acrílico y aceite de pintura, grafito, collage en
Paper arches
66.04 x 91.44 cm
Pachacuti Pachacuti Pachacuti
2011-2013
Collage, aceite de pintura, grafito en paper
55.88 x 76.2 cm
(Detalle)
Untitled (endless...4-p young)
2013
Pantallas de lámpara, metal y focos
469 x 63,5 x 63,5 cm
Untitled (el siglo de todo... the
century of everything)
Serie de 10 dibujos
2001 - 2013
A.bambaataa
40 x 29,5 cm
Pachacuti (Richard Pryor)
21,6 x 28,3 cm
Sin tÍtulo
21 x 28,3 cm
Museum of recollection (Yawar Mallku)
22,5 x 29,2 cm
And I ran so far away or white squall
28,3 x 23,8 cm
El siglo de todo lo que recuerdas
21 x 28,3 cm
Under/ over (virtual expansions)
21 x 28,3 cm
Cordoba 21 x 28,6 cm
Y después quiero que comiencen a
tirar piedras 23,2 x 29,5 cm
Evacuation
20,6 x 28,6 cm
This monumental sculpture, built out of plywood, creates parallels between the diasporas of
the Americans through language and visual forms of abstraction. With references to the Land
Art of the 1960s and early 1970s, in terms of its resistance to the logic of consumerist art and
the interest in reconnecting to ancient geometric principles and the pragmatic use of materials;
Cordova’s lando, landu (yaway mallku) is epic.
Yawar Mallku (royalty,
abduction and exile)
La Conservera, Murcia / España
2011
Instalación
Madera de diferentes tipos.
The notion of translation is key in Cordova’s work, the shifting from English, Quechua, Spanish,
even Creole in his titles parallel the shifts, turns and cuts made in his constructions. References
similarly have an impact on the blur of original meanings with the creation of new meanings.
The installation of lando, landu (yarwar mallku) is a replica, over 14 metres in length, of the
Millennium Falcon from the film The Empire Strikes Back, produced by George Lucas. Lando, in
turn, is an Afro-Peruvian musical tradition, a term derived from the Angolan term Landu, also
found in Cuba. Similarly, the falcon is a sacred bird in Inca culture. As Cordova moves through
seemingly disjunctive references, he ultimately creates an amalgamation. And what better
location for the fusion of time, space, history, memory and fiction than the narrative platform
of science fiction, not only in its Hollywood representation but also in the conceptualization of
Afro Futurism in Sun Ra’s film Space Is the Place (1972), which uses science fiction as a symbol
of resistance; or with the quotation from the science fiction writer H. G. Wells: “Human history
is in essence a history of ideas” are inspirations.
( Text and photos: La Conservera Arte Contemporáneo, Murcia)
Yawar Mallku (royalty, abduction
and exile)
La Conservera, Murcia / España
2011
Instalación
Madera de diferentes tipos
Untitled
2010
Pan de oro y collage en marco vintage
42 x 56 cm
Now’s the time (pacha mama)
2009
Grafito, pan de oro, palo de aceite, polvo,
cabello, acuarela y tinta metálica con
collage impreso con de inyección de tinta y
fotomecánica sobre papel
469 x 63,5 x 63,5 cm
The immortals (YLPBLAMRTA)
2009
Bolsa de papel, plumas
Medidas variables
William Cordova’s work is tied to an aesthetic of inner city landscapes, reflecting its temporality
and disparity. Through drawing, video, sculpture, and installation filled with urban detritus busted cars, trashed tires, discarded shoes, machetes, speakers, and yellowed books - the artist
references the reality of lived experience, as opposed to the dramatization of a consumerist
culture. The ease with which Cordova switches between media demonstrates his impressive
visual dexterity. Using a language of refuse and dilapidated buildings, he paints grand portraits
of deteriorating cultural icons.
Moby Dick (para Oscar Wilde,
Oscar Romero y Oscar Grant)
2008-2009
Cordova’s sculpture, Moby Dick (for Oscar Wilde, Oscar Romero y Oscar Grant), consists of
half a police cruiser set atop blocks and sealed with plywood. The exterior of the car is spray
painted, or “tagged,” recalling a history of aerosol-based subversive self-expression popular
among Black and Latino artists in the 1970s and 80s. Branded on the car are names of several
social activists and figures in the history of civil rights such as (Eldridge) Cleaver, Geronimo,
(Betty) Shabazz, and Sitting Bull. Inside the car, behind heavily tinted windows, are a series of
seemingly unrelated objects: a machine gun; a Peruvian gourd; record album jackets; a boom
box; and a customized bookshelf of the referenced authors. In doing so, Cordova creates a
meditative space for reflection apart from the outside world, one not unlike Moby Dick’s quiet
abode inside the white whale.
( Text: deCordova Sculpture Park and Museum)
Moby Dick (para Oscar Wilde,
Oscar Romero y Oscar Grant)
2008 - 2009
Instalación
Carro de policía, spray, velas, madera
Medidas variables
En colaboración con Carlos Sandoval de
León
The house that Frank Lloyd
Wright built 4 Fred Hampton
and Mark Clark
Whitney Biennial 2008
Addressing the fragility of history through an ephemeral environment, The House that Frank Lloyd
Wright built 4 Fred Hampton and Mark Clark (2006), shown at Arndt & Partner Berlin in 2006,
is a dizzying room-scale labyrinth of wooden beams based on the footprint of the house where
Black Panthers Fred Hampton and Mark Clark were killed by Chicago police in a predawn raid in
1969. Much of Cordova’s work induces similarly uncanny interpretive spirals, abetted not by arbitrary
Surrealist juxtapositions but the all-too-common strangeness of our own detritus and the too-often
repressed histories they conceal.
( Text: Suzanne Hudson / Whitney Biennial)
The house that Frank Lloyd Wright
built 4 Fred Hampton and Mark
Clark
Whitney Biennial 2008
Instalación
Madera, libros y dibujos colgados
Medidas variables
Grandes éxitos de San Antonio
(4-Claude Black, Mario Marcel Salas,
Rosie Castro y Jose Angel Gutierrez)
2008
4.000 discos de vinilo, calabazas peruanas,
“ojo en el premio” copia en VHS, cigarro,
vidrio
Medidas variables
William Cordova
Lima, 1971.Vive y trabaja entre NY, Miami y Lima
Formación
Exposiciones Individuales
2004
M.F.A,Yale University, Master of
Fine Arts, New Haven, CT
2015
yawar mallku: metafísica de espacio y
tiempo, 80M2 Livia Benavides, Lima
2012
Yawar mallku: look for me in the whirlwind,
General Audience Presents, North Miami, FL
2007
Pachacuti (stand up next to a mountain) Arndt &
Partner, Zurich
2003
Skowhegan School of Painting and
Sculpture, Skowhegan, ME
2013
Yawar mallku: temporal landscapes, Sikkema
Jenkins & Co. New York, NY
2011
Yawar Malku (royalty, abduction & exile), La
Conservera
Centro de Arte Contemporáneo, Ceutí. España
2006
P’alante, Arndt & Partner, Berlin, Germany
1996
B.F.A, The School of the Art
Institute
of Chicago, Chicago, IL
Exile on main street (wilde, lam, cleaver,
toklas), Denniston Hill, Woodridge, NY
Smoke signals: viviendo pa’ la ciudad,Yerba
Buena Center for the Arts, San Fransico, CA
Revisiting radicalism: eclipse of mountains
and plains, El
Espacio Aglutinador, Havana, Cuba
Smoke signals: viviendo pa’ la ciudad,Yerba
Buena Center for the Arts, San Fransico
Revisiting radicalism: eclipse of mountains
and plains, El Espacio Aglutinador, Havana,
Cuba
Búscame en el torbellino: but also time itself,
Saltworks Gallery, Atlanta
2010
Ephemeral Minuments, Arndt, Berlin, June 12
Laberintos, Sikkema Jenkins & Co., New York, NY
More Than Bilingual, Robert Hull Fleming
Museum, University of Vermont, Burlington,VA
2008
Pachacuti, pachacuti, pachacuti, OK Mountain,
Austin, TX
Moby Dick (Tracy), Artpace, San Antonio, TX
2012
this one’s 4U (pa’ nosotros)
, Mills Gallery at Boston Center for the
Arts, Boston
The house that frank llloyd wright built for
Atahualpa, fred hampton y mark clark,Threewalls,
Chicago, IL
Drylongso (Pichqa Suyo) PS.1 Contemporary Art
Center, Long Island, NY
2003
No More Lonely Nights, Museum of Contemporary
Art, Miami, FL
2002
You Shook Me All Night Long, Institute of
Contemporary Art, Winnipeg, Canada
Exposiciones Colectivas
2015
MetaModern. Krannert Art Museum, Champaign, IL
2014
Prospect.3 - Biennial of New Orleans; New Orleans
2013
z
2012
Pop Politics ,Activism at 33 Revolutions, Centro de Arte Dos
de Mayo. CA2M, Madrid, Spain
2011
Arte al paso, Colección Contemporánea del Museo de Arte
de Lima
MALI
2010
Present, 60 Wall Gallery, Deutsche Bank, New York, NY
Greater New York 2010, MoMA PS1, Long Island City,
Changing the World, Arndt, Berlin
2009
San Juan Triennial, Instituto de Cultura Puertorriqueña
, San Juan, Puerto Rico Broken Thorn Sweet Blackberry, Sikkema
Jenkins & Co., New York, NY, Miami Art Museum, Miami, FL
2005
I Wish it Were True, Project Row House,
Houston, TX
Scratch, The Studio Museum in Harlem, New
York, NY
2004
Thesis Exhibition,Yale University, New Haven,
CT
Dialogue in the Urban Landscape, curated by Pedro Alonzo,
Contemporary Museum of Art, San Diego, CA
2003
Altoids Curiously Strong Collection, New
Museum, New York, NY
30 Seconds off an Inch, Sudio Museum Harlem, New York, NY
50th Venice Biennale,Venice, Italy
2008
Whitney Biannual, Whitney Museum, New York, NY
2002
Americas Remixed, Faborica de Vapore,
Milan, Italy
Pinacoteca do Estado de São Paulo, São Paulo, Brazil: May 28
Prague Triennial, Prague, Czech Republic Street Level
2010
Cityscape, Socrates Sculpture Park, New York, NY
Viva la Revolución: A Dialogue with the Urban Landscape,
MCASD: Museum of Contemporary Art San Diego, San
Diego, CA: July 18
The Records: Contemporary ART and VINYL, Nasher
Museum of Art at Duke University, Durham
Institute of Contemporary Art, Boson, Boston,
Then & Now: Abstraction in Latin American Art from 1950 to
Contemporary Art Center, Long Island,Y
2007
Street Level, Nasher Museum, Duke University, Durham, NC
2006
I wish it were True, Jamaica Center for The Arts & Lear
ning, Queens, NY
2006
The Beautiful Game, Roebling Hall, New York, NY
Mass Appeal, Arts Intercultural, Quebec,
Canada