Sandra Gamarra Heshiki

Artist selected by Estévez, Ruth at 2011
More artist content updated at 2016

Sandra Gamarra’s work focuses on the mechanisms of the art world, including the art market, exhibitions and creative processes, to explore its reality and workings. Fiction and selection are processes that dissolve on a large scale within the notion of a spectacle. By reducing the scale of the elements involved, she aims to reveal these processes and question our involvement in them.


From her position within the arts (referring to her position in the world), she believes that one of the ways at our disposal for reacting to and engaging with these systems is to take the processes for creating reality and use them to create fictions by reselecting this ever-partial supposed totality.


1. What made you choose art as a profession?
It wasn’t really ever a decision as such; it just gradually happened.


2. How would you define your work?
It’s not easy to give an exact definition. I see my work as having hazy, ever-changing boundaries, like a shoal of fish. Basically I use images produced by art to question its own values, especially ones linked to ownership.


3. What subjects are you interested in?
I’m interested in issues of copyright as a metaphor of the idea of ownership in all its senses.


4. What resources – formal or otherwise – do you use in your work?
Formally, I use painting as a means of appropriation, just as it was introduced to Spanish Colonial America, and above all I exhibit in museums.


5. What relationship does your work have with reality? What are your raw materials?
All work has an intrinsic relationship with reality, since the spectator is always part of it. My work is a metaphor that explores the world of relationships in art to talk about the wider world.


6. What, according to you, is the point of art?
To create distortions in the way ownership is divided up.


7. How do you hope the public will receive your work? What audience are you aiming at?
You need a certain appreciation of modern-day art to understand my work, especially to recognise the images and not read them as new ones.


8. What qualifications have you got? What do you value most from your time in education?
I studied visual art at a very traditional school. What I value most from my education is the capacity for work that I acquired over those years.


9. How would you define your current professional situation? And in the future?
I can’t separate it from my work. In the future I hope to manage my time better.


10. Many artists say it’s difficult to make a living from their work; how do economic considerations affect you when it comes to work? Do you think this has a bearing on your work?
Economic considerations have a bearing on your work in many different ways: personally, socially, emotionally, and historically. There are real issues at stake, such as the materials/spaces/people you can use, that are governed by the money you have at the time, but I think you’re always looking for feasible solutions to your ideas. And if it’s not possible, you put them on the backburner for a while or write them down. Above all, economic considerations obviously affect your work when they are factors in your own approach.


11. What do you look for or expect from your relationship with promoters and curators? What advantages and difficulties have you found with these relationships?
Promoters and curators are always interesting people to engage with because of their knowledge and awareness of other artists and their work and their relationship with them. You find the same advantages and disadvantages you get with any other relationships: interests, feelings, cultural differences.


12. What do you think sets the arts scene in Madrid apart from elsewhere? What would you say are its pluses and minuses?
I don't know what sets it apart in general without comparing it with another city in particular. Maybe the presence of Latin American artists, but I don’t know if that has a major impact.
I think there are lots of people working here and although this work might not take the shape of a scene, I’m not sure whether you always need a scene as such.

Curriculum vitae

Sandra Gamarra-Heshiki
Lima, 1972
Vive y trabaja en Madrid /Lives and works in Madrid.


Formación Académica/Education
Estudios de Doctorado / Doctorate Studies, Facultad de Arte de Cuenca.


Bachiller en Arte, Pintura / Bachelor in arts, Painting, Facultad de Arte en la Pontificia Universidad Católica del Perú.


Exposiciones Individuales (Selección) / Selected Solo Exhibitions
At the Same Time, Bass Museum of Art, Miami.
Mantos, Galería Leme, São Paulo.


En orden de aparición, Galería Juana de Aizpuru, Madrid.


Selección natural, Galería OMR, Mexico DF.
The Guest, Rotwand, Zürich.
La ilusión del uso, Galería Lucia de la Puente, Lima. *


Milagros, Galería Leme, São Paulo.


Nuevas adquisiciones, Galería Lucía de la Puente, Lima. *
Gabinete, Galería Juana de Aizpuru, Madrid.
Adquisiciones brasileñas, Galería Leme, São Paulo.


Exposiciones Colectivas (Selección) / Selected Group Exhibitions
Kunst und Institution, Kunstlerhaüs Wien.*
Fiction and Reality, MMOMA, Moscow.*
The end of history…and the return of history painting, MMKA, Arnhem, Nederland.
Arte al Paso, Estación Pinacoteca, São Paulo. *
XI Bienal de Cuenca, Cuenca, Ecuador.*


Há sempre un copo de mar para um homem navegar, XXIX Bienal de São Paulo.*
Rendez View, Darsa Comfort, Zürich.


31° Panorama da arte Brasileira, Museo de arte moderno, São Paulo.*
Micromuseo: Lo impuro y lo contaminado III, Triennal de Chile, Santiago, Chile.*
Mundus Novus, Pabellón IILA de 53° Bienal de Venezia..
Die Tropics, National gallery, Ciudad del Cabo, Sudáfrica.*

* Cat. Exp.


Becas y Premios/Awards and Grants
AVAM, Madrid. España. Ayuda de Creación Madrid Procesos 07.


Marcelino Botín. Santander. España. Beca de Proyectos.


MUSAC, Castilla y León. España. Beca de Creación Artística.


Fundación Carolina, Madrid, España. Beca de Creación.


Obra en Museos y Colecciones/Works in Museums and Collections
Ayuntamiento de Alcorcón, Madrid.
Colección Caja Madrid, Madrid.
España LiMAC, Lima.
MALI, Lima.
Micromuseo, Lima.
MoMA, New York.
MUSAC, León, España.
Museo Patio Herreriano, Valladolid, España.
Tate Gallery, London.
Universidad Castilla La Mancha, España
Universidad Candido Mendez, Rio de Janeiro.


"Selección natural", Lima, Galería Leme, 2009.
"Visita Guiada", Madrid, TF editores, 2003.
“Memoria Proyecto LiMAC”, Itinerarios 04-05 XII Becas de Artes Plásticas,Santander, Fundación Botín, 2005, pp. 40 - 50.
“LiMAC en el MUSAC”, Emergencias, León, MUSAC, 2005, pp. 158 - 163.


Bibliografía (Selección) / Selected Bibliography
Jarque, Fietta, “Una lengua común también en el arte”, Babelia, España, El Pais, 15/V/2010.
Jiménez, Carlos, “Sandra Gamara”, Artnexus, n. 77.
Castrillo, Carolina, “Sandra Gamarra”, Lapiz, n. 259/260, Madrid, pg. 158.
Maderuelo, Javier, “En orden de aparición”, Babelia, n˚952, España, El Pais, 20/II/2010.


Buntix, Gustavo, “El Museo de Arte borrado (d´aprés Hernández Saavedra 1970)”, Micromuseo, Trienal de Chile.
Estévez, Ruth, “Sandra Gamarra, 8 nuevos artistas desde America Latina“, Codigo 06140, n. 50, Mexico.
Irma Arestizabal, “Mundus Novus“, Istituto Italo Latino Americano, 53 Bienal de Venecia. Power, Kevin, “Cultura, pobreza y megálopolis: el arte y la lucha por la supervivencia“, Fundación Botín, Santander.
Mantecón, Marta, ¨El Museo imaginado¨, entrevista, La copia, lo falso y el original, España, Comunidad de Madrid, pp.103-111.




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