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Bio
Luis Chenche (Ecuador, 1988) is an Ecuadorian artist. He studied Visual Arts at Uartes (University of the Arts) in Ecuador. He lives and works between France and Ecuador, based in Paris. In 2016, he participated in the XIII Biennial of Cuenca (Ecuador) curated by Dan Cameron, where he was awarded the Paris Prize. In the same year, he was selected by Rompeflasche-austauschprojekt / Interchange Project, CAC Contemporary Art Center (Quito/Ecuador) to exhibit in H2-Zentrum für Gegenwartskunst (Deutschland/Germany). In 2015 he was awarded the second prize in the VI Edition of the June Machala Hall Ecuador). In 2014 he won second prize and Prize called: Artist Revelation, in the Salon of October of the House of Culture-Guayaquil. In addition, He received different Mentions of Honor and awards from diverse spaces and cultural events at the national level.
Statement
He approaches his artistic practice with a sense of inquiry about unofficial urban spaces, (places not in use, ruins, debris) to transform them into poetic possibilities and at the same time interpellant. He registers buildings which are being demolished and appear in his way. The artist faces the agonizing gestures of matter in its liminal crisis of disappearance, through a creative process of searches and reconciliations with aspects of daily life that are in direct relation with visual resources of architecture. His interests are focused on re-signifying latent elements that inhabit these often imperceptible spaces. The formality of many of his works makes clear reference to a topographic study characterized by a high level of thoroughness and detail. Chenche has affinity with different media such as: painting, installation, photography, video and drawing.
LUIS CHENCHE (Ecuador,1988) https://luischenche.com/ EDUCATION 2015-2019 UNIVERSITY OF ARTS, Visual Arts. Guayaquil. Ecuador. 2012 -2015 ITAE, Instituto Tecnológico de Artes del Ecuador. Visuals Arts. Guayaquil. Ecuador 2015 “ANTE LA TENSIÓN DEL VISIBLE” Workshop by the artist Rubens Mano(Brazil). ITAE Guayaquil. 2015 “CURADURÍA” workshop by the curator: ElvisFuentes(Cuba). ITAE Guayaquil. 2014 “GESTIÓN Y ESTRATEGIAS PARA PROYECTOS” Workshop by the curator: María Ozcoidi(Spain). ITAE 2014 “CREACIÓN DE PORTAFOLIO” Workshop by the curator: María Ozcoidi(Spain). ITAE 2013 “ECHANDO LÁPIZ” Workshop by the artist: Manuel Santana(Colombia). ITAE Guayaquil. SOLO EXHIBITION 2019 EN DEMOLICIÓN. Mirador Gallery. Guayaquil-Ecuador 2017 THE NAMELESS CITY. Embassy of Ecuador. Paris. France 2016 SITUACIÓN LATENTE. Guayaquil -Ecuador
GROUP EXHIBITION_Selected 2019 Sinergia, Espacio Cultural Plaza de la Fuente. Guayaquil Ecuador 2019 ArteBa, Proyecto Nasal. Lima, Peru. 2018 XIV Biennial of Cuenca. Estructuras Vivientes. Cuenca, Ecuador 2018 Salón de Julio, 59th Edition, Museo Municipal de Guayaquil. Guayaquil, Ecuador. 2017 Lo-FI: Baja Calidad y Virtud. Violenta Gallery. Gye-Ecuador. 2017 3th Edición Premio Brasil, Arte emergente .Quito.Ecuador. 2017 Del Mundanal Ruido, Funka Fest, Guayquil, Ecuador. 2017 So Arty, Les traversées du Marais à contretemps Paris, France. 2017 Material Gris. Violenta Gallery. Guayaquil. Ecuador. 2016 XIII Bienal de Cuenca. IMPERMANENCIA. Cuenca, Ecuador. 2016 ROMPEFLASCHE Austauschprojekt/ proyecto de intercambio, CAC Centro de Arte Contemporáneo, Quito, Ecuador,& H2 –Zentrum für Gegewartskunst, Augsburg. Deutschland/ Alemania .
2016 “A Fin” Taller Preludio, Guayaquil, Ecuador. 2015 FAAL, Museo Municipal de Guayaquil. Ecuador. 2015 Salón de Julio, 56th edición, Museo Municipal de Guayaquil. Guayaquil, Ecuador. 2015 Salón de Junio Machala, 6th Edition, Casa Municipal de Arte y Cultura. 2015 Andamios de vigilia, Dpm Gallery, Guayaquil. 2014 FAAL, Museo Municipal de Guayaquil, 2014 Salón de Octubre 56th Edition, Casa de la Cultura. Guayaquil,Ecuador. 2014 Propensiones, Museo de los Metales, Brigada de Dibujantes ITAE, Cuenca, Ecuador. 2013 Salón de Octubre 55th Edition, Casa de la Cultura. Guayaquil,Ecuador. 2013 Espacio Si, Lugar No, Barrio Domingo Savio, Proyecto Brigada de Dibujantes, Guayaquil. 2013 Símbolos Patrimoniales de la identidad Chola, Asociación Cultural Las Peñas. Guayaquil, Ecuador. 2012 Patrimonios Naturales-Los Ríos del Guayas, Museo Antropológico y de Arte Contemporáneo. 2012 Patrimonios Naturales-Los Ríos del Guayas, Museo Nahin Isaías. Guayaquil,Ecuador. AWARD 2016 PARIS PRIZE, Artistic residence in La Cité internationale des Arts/ Paris. XIII Bienal de Cuenca. Cuenca, Ecuador. 2015 SECOND PRIZE. Salón de Junio Machala, 6th Edition, Casa Municipal de Arte y Cultura. Machala, Ecuador. 2014 SECOND PRIZE Salón de Octubre 56th Edition, Casa de la Cultura. Guayaquil, Ecuador. 2014 REVELATION YOUNG ARTIST. Salón de Octubre 56th Edition. Casa de la Cultura. Guayaquil, Ecuador 2013 MENTION OF HONOR. Concurso Provincial de Pintura al aire libre. Guayaquil, Ecuador. 2012 SECOND PRIZE. Concurso de Pintura “Patrimonios Naturales-Los Ríos del Guayas” organizado por la Prefectura del Guayas. Guayaquil, Ecuador.
¨Lightning” View of the installation, Variable Dimensions. Installation, Wall fragments, mangrove wood and ropes. Mirador Gallery UCSG. Guayaquil, Ecuador. 2019
“Lightning” Installation, Wall fragments, mangrove wood and ropes. Variable measures 2018-2019 It is an installation consisting of mangrove woods, wall fragments and ropes that have been turned into debris by demolition. These elements, when suspended, recreate a levitate as if they wanted to narrate an atmosphere of detachment.
Here, we see a kind of static narration, of wanting to show what happens in an undefined state. The emergence of a premeditated fall allows witnessing a futile, random and playful event that occurs inside the building.
"Lightining" collects vernacular knowledge of construction that gradually disappears in the city of Guayaquil like others in Latin America that seek progress in concrete and metal. Addressing this liminal transition process allows us to approximate the cultural, social, economic and political phenomena of a city.
Detail
¨Structural”. 40 x40 cm each. Photographic print on brushed dibond aluminum 3mm. Mirador Gallery UCSG. Guayaquil, Ecuador. 2019
"Structural" Photographic print on brushed dibond aluminum 3mm 40cm x40cm each 2018 "Structural" is a series of five photographic prints on brushed dibond aluminum of 3 mm each containing representations of strange buildings that are nonetheless familiar to us. When modernity arrived in the city of Guayaquil, steel and cement replaced those vernacular buildings of the picturesque city. For "Structural" I perform an architectural analogy exercise, taking a picture of the corners of some modern buildings in the city and then doing a kind of digital collage recreating new structures. So that the alienating spirit of these buildings is preserved before the uncertainty of what is being seen in the work.
Detail
¨Rites de Passage” View of exhibition, 40 x40 cm each. Collage with photographs printed on tracing paper. Mirador Gallery UCSG. Guayaquil, Ecuador. 2018
“Rites de Passage” Collage with photographs printed on tracing paper 40 x 40cm each 2018 In Rites de Passage there is therefore a reiteration of the captured elements that, however, when witnessing the photographs together, familiarizing ourselves with what is represented does not become an immediate task. Rather, it becomes complex and gives way to identifying the image reception process. We stopped seeing the stage to begin to notice the "other" presence that takes center stage, as if it were some alchemical ritual.
Rites de Passage is a term that was coined in 1909 by the Anthropologist Arnold Van Gennep (France 1873-Germany1957). This term refers to the set of symbols that mark one state to another in the life of a person. In this particular case when used as the title of the piece, the ritual of passage I see manifested when I make the gesture of grouping the ruins that will appear during the demolition of two photographs.
Detail
"Timeless Status” Photography / Sculptural Object. Wood and tracing paper. Variable measures. Mirador Gallery UCSG. Guayaquil, Ecuador. 2018
"Timeless Status" Photography / Sculptural Object. Wood and tracing paper. Variable measures. 2018.
"Timeless status" is an in-situ sculptural action recorded by the camera lens to subsequently make the printing on flat paper, the result of which evokes watercolor and ends with sculptural qualities, located in an eventual place.
On the other hand, the proposal implies a performance action (a body in action) on the part of the viewer. The piece can be traveled by insinuating a circular path around it due to the qualities of the translucent support. The piece is a cyclical process, where its staging returns to its detonating action. I therefore consider a work with an integrative character of means that indicate the action, the fragility of memory and liminality.
Detail
“Atlantis” Acrylic, graphite and marker on canvas. 16 frames of 50cmx75cm each. Total dimension: 200 x300 cm. Municipal Museum of Guayaquil. Ecuador. 2018.
“Atlantis” Acrylic, graphite and marker on canvas 16 frames of 50cmx75cm each Total dimension: 200cm x300cm 2018 Atlantis, a city that “disappears” from the face of the earth, has been cited since the Greek philosopher Plato mentioned it in the dialogues of Timaeus and Critias.
In the work "Atlantis" myth and fiction meet. Here we face 16 paintings that together recreate a fragmented account of the remains of a building in Guayaquil in the process of demolition. The invoice of each piece refers to a topographic study contrasted by suggestive forms, which invite us to reflect on the representation of a lost territory and the fragility of memory.
Detail
“Vertical Universe” (From the Uninhabitable series) View of the installation, Variable Dimensions Graphite, gouche, tracy paper and wood. Centro de Arte contemporáneo de Quito. 2017
“Vertical Universe” (From the Uninhabitable series) Graphite, gouche, tracy paper and wood. Variable Dimensions. 2017
Detalle01
The whole piece presents in its verticality a strange shape that evokes the dynamics of the construction and / or the demolition of architecture in the city, both structural and content in an apparent levitation of the forms that is far from being an orderly and cautious set. In Vertical Universe (from the Uninhabitable series) the line as the main protagonist migrates to other less peaceful and domestic territories than paper, becomes malleable, takes shape and affects the body inviting it to be part of its displacement.
Detail
UNINHABITABLE. Installation view, Variable Dimensione s. Graphite, Gouche, Tracy paper and wood. Embassy of Ecuador en France.
París. 2017.
“Uninhabitable” Graphite, gouche, tracy paper and wood Variable Dimensions 2017
Detail
The premeditated use of the idea of map, is metaphorical since I find a relation of -location and loss- in my work, using the -curved lines-, which is a technical term used in the topographic sciences to represent the surface of the territory. Generating a large topographical mantle that engulfs everything the city forgets. A territory in this case-those landscapes-others, those parallel, and enigmatic worlds, building through elements that coexist in everyday life and in strangeness. In this work I see how the drawing is taking a material, corporeal prominence that transits between the flat and the volumetric.
“Exhausted territories”. Installation view. XIII Biennale of Cuenca. Ecuador 2016
Luis Chenche’s approach to drawing can at times seem like a case of horror vacui playing out, in which even the tucked-away passages of the largest works have been elaborately detailed over many accumulated hours of precision craftsmanship. In part, this is because of the artist’s preference for selecting unassuming corners of the word as his subjects, and rendering them at approximately three-quarters scale, so that they invite a close-up scrutiny. Because of his interest in surfaces and textures, Chenche’s selection of the Casa de Arcos as the ideal site for his drawing-intensive installation, has enabled him to lay claim to a pace in which the architectural prerogatives of the white cube gallery have been replaced by abundant evidence of the landmark building’s gradual deterioration over time. Our eyes move easily from the fragile surfaces of the Casa de Arcos’s walls to the intimacy of Chenche’s drawings, and back again, while his careful positioning of two tables filled with small drawings is intended to point our gaze toward the view out the window, across the river and up into the mountains, bringing epic and domestic scale together in perfect harmony. Dan Cameron.
Curator
“Exhausted territories”. XIII Biennale of Cuenca. Ecuador . Impermanencia. Cuenca, Ecuador. 2016
"Chronicles of the landscape 01" (of the Exhausted Territories series), Dimensions 200x300 cm. Graphite and marker on canvas. XIII Biennial of Cuenca. 2016
“Exhausted territories”. Installation view. XIII Biennale of Cuenca. Ecuador 2016
"Chronicles of the landscape 02" (of the Exhausted Territories series), Dimensions 200x300 cm. Graphite and marker on canvas. XIII Biennial of Cuenca. 2016
Details "Landscape Chronicles 01 (Left) - 02 (Right)" From the Exhausted territories series.
“Fortuitous meetings” (from the Exhausted territories series), Variable dimensions. Installation view. XIII Biennial of Cuenca, Cuenca, Ecuador. 2016
“Fortuitous encounters” (from the Exhausted territories series), Detail
"The city that eats itself" (2016-2017) Sculptural Object, Tires, and wall fragments of houses in the process of demolition.
"The city that eats itself" Sculptural Object, Tires, and wall fragments of houses in the process of demolition 2016- 2017
Detail
The processes of construction and destruction in search of an ideal city, lead to transformations in the social, political, economic and cultural fields. The architectural contrasts of a city allow us to investigate about the relationships that the inhabitants have with the place where they live. It is in architecture where I allow myself to expand this focal spectrum, to explore this way, the city where it is built. This organic space of encounters and disagreements in which, with a careful look, we can discover our idiosyncrasies, memories of a past that lasts in the form of vestiges, remains and abandoned objects.
"Hanging" White sheets with a design of painted skylights, rods, cables. Installation. 2016 Installation Video: https://vimeo.com/188319026
"Hanging" White sheets with a design of painted skylights, rods, cables. Installation. 2016 Installation Video: https://vimeo.com/188319026
Detail
This proposal aims to generate an approach and reflection on the peripheral spaces of the city and the ways of living of its residents, without pamphlet sense, nor as a categorical instrument. Paradoxically, these lifestyles are as valid as that symbol impregnated in each sheet -the skylight - element to which I have resorted to making a metaphor at a time stationed, a lost place between that popular structure of canes and the most high-sounding skyscrapers of the city. The work "Hanging" is a recreation of a large-scale clothes line and aims with its location to give the sensation to inhabit -in and with them-, so the spectator witnesses a sort of anachronism, because these customs, habits and ways of living seem to be part of the past. The Facility invades a place at the same time it is invaded. It allows to travel and in that transit to find by way of epiphany what the daily life condemns: the strangeness.
"The escape of the shapes" (from the propped up series) Acrylic, Chinese ink and marker. 80x150xcm. 2016.
"The escape of the Form" (from the propped up series) Acrylic, Chinese ink and marker. 80x 150cms 2016
Detail
Several elements of an architecture in ruins vanish, leaving behind the order with which they were rigorously constructed. Fragile before strange forms that dominate fragmenting them and allowing us to travel in an interpellant universe. ”THE ESCAPE OF THE FORM" (From the propped up series) is a creative process of searches and reconciliations with aspects of daily life that are directly related to visual resources of architecture. My interests are focused on redefining latent elements that inhabit these often imperceptible spaces. The concept of propping up is no longer in its usefulness reinforce or secure a structure but plays with the absurdity of maintaining a fiction on two-dimensional support. The strange and chaotic forms that escape in an abstraction disorient us and intrigue us, concentrating these in a whole that multiplies and expands it but in turn contracts and annuls it. In this way the work tries to move us to the reflective plane interpellating us about our own existence and the fragility of memory.
"Stray" Acrylic, Chinese ink and marker on canvas. Variable measures, 2015.
“Stray” Extrsvíos Acrílico, tinta china y Rotulador Medidas variables 2015
Detail
A chaotic, fragmented atmosphere that invites the spectator to approach the work of any point, simulating a geographical location of "innocent" disorientation or on the other hand; the attentive and critical flaneur with the ideological / emotional / physical structures that surrounds him With contributions of suprematism, the piece is framed in a strong contrast of blacks and whites as well as moving to conceptions of the "empty" around the city.
"Facade" Marker on tracy paper. 41.5 x 300 cm. 2015.
"Facade" Marker on tracy paper. 41.5 x 300 cm. 2015
Detail
The work "FACADE" in this case pursues two instances, problematizing from the assembly devices in a museum space and generate meanings with those names that appear within the Google earth browser, Guayaquil cooperatives, as established places within the city, and that in a way are not included in the ideal city repertoire, that the city itself presents another "facade". My work, is formally complemented with a plot of the topographic, obsessive and chaotic, which metaphorizes the reality of these popular sectors, where we find almost unnoticed words that move us to other realities.
"On the other side" Miscellaneous materials. 45 x 90 x 40 cm. 2015.
"On the other side" Miscellaneous materials. 45 x 90 x 40 cm. 2015
Detail
"On the other side" is a sculptural piece consisting of fragments of wall (rubble) placed by a latch and secured with a padlock, which is made more complex by the poetic use of language, beyond the risk that the work borders the fields of the illustrative, problematizes when we find denatured, the security device so that the lock can work, converted to an irrational fact. In my work the absurd relationship of taking the work of destroying everyday things and building them from a laborious exercise, an absurd fact about one's own nature that involves a lot of work to do it, machinery, welding, moving things, etc., is evident. The words force you to turn around disrespecting the logic of security, facing the paradox and contradictions of ruin and insurance.
"In the middle of a sea without clouds" Marker, graphite on canvas 150 x 150 cm. 2015
"In the middle of a sea without clouds" Marker, graphite on canvas 150 x 150 cm. 2015
Detail
The complex use of lines that together recreate a kind of architectural environment in ruins, is interrupted by a presence of unrecognizable, strange and inexhaustible interpretations. "In the middle of a sea without clouds" becomes almost a topographical study, when trying to use contour lines that surrounds us, attracting us to an inhospitable, ambiguous and mysterious territory.
"Delirium" Experimental video 2’49’’ 2015 Link to access the video: https://vimeo.com/158521769 The video is composed of a group of shots "on location" to generate and propose a kind of chaos in the filmic space. It allows ramblings in a daily world and at the same time unknown. I'm interested in the spaces / situations of the city, especially those that have been deprived, due to various circumstances (natural or intentional phenomena), of their pragmatic function, which are unveiled by daily life, giving way to turn them into a source of questioning and questioning aspects about the view of the landscape.
Still:“Delirium”
"Edges" Graphite, Marker and Acrylic on canvas.120 x 150cm. 2015
"Edges" Graphite, marker and Acrylic on canvas. 120 x 150cms. 2015
Detail
With its polysemic spectrum, the work "Borders" offers evidence of my interests and anxieties, many of which are born precisely from the territory in which I live. Why are the apologies on historical neighborhoods witnessing the growth of the city scarce? Are we ashamed to find images of these "invisible" places under the concept of modern city and the appeal to the notion of progress? What would happen if instead of finding maps of the tourist places, we show those who have and are cementing the city from the everyday? Would there be any way to shake the logic of existing hegemonic representation without falling into the pamphlet? The scene is presented as an anachrony, a place where the progress of industrialization and its opposite coexist on the one hand, the precariousness of existence in the traditional sector of Guayaquil: Cuba neighborhood. I am interested in the problem of the relationship of the real world and our ways of representing it. .
“Room in the sapce I” (From itinerant series) Marker on paper. 29,7x21cm. 2015.
“Room in the sapce II” (From itinerant series) Marker on paper. 29,7x21cm. 2015.
"Room in space I and II" (From the itinerant series) Marker on paper. 29.7x21cms. 2015
Detail “Room in the space(Fron the itinerant series)”
The creation of this series is based on the approach to space that has been disabled as a guest, of the visitor who registers his stay and who collects in it a connection between the folds and traces of time with the disturbing pattern of lines of the cartography, which brings us closer to imagination and fiction.
[email protected] https://luischenche.com/ @luis_chenche https://www.instagram.com/luis_chenche/
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