VIOLETA QUISPE YUPARI: ARTEMANTA HISTORIATA TAPUSPA
Official history is usually told from the perspective of power groups, which have determined what aspects of the past to show and how to show them, what stories are remembered and who is considered important within these stories. Art has also traditionally served to strengthen these perspectives from a visual perspective. In this context, the stories of indigenous, mestizo and Afro-descendant women and sexual minorities have generally been left aside.
The work of Violeta Quispe Yupari (Lima, 1989) has focused on demanding women's equality and denouncing gender violence, especially against Andean women. From this perspective, some of her works, like those we see in this exhibition, have focused on different historical contexts to highlight the stories and contributions of women in the construction of the Peruvian nation, especially those belonging to marginalized groups in terms of race, class and gender.
Violeta is the daughter of Gaudencia Yupari and Juan Walberto Quispe, two artists originally from the peasant community of Sarhua (Ayacucho). Both migrated to Lima in the 1980s due to the violence of the internal armed conflict that affected Sarhua especially at the beginning of that decade.
Juan Walberto was a renowned panel painter from Sarhua and Gaudencia is an outstanding textile artist who has also developed an important career as a panel painter. The Sarhua Tablets are paintings on long wooden planks that are made on the occasion of the construction of a new house to record, through images and texts, the close relatives of the owners of the house and the ties of reciprocity. that are established with the compadres who give the Table.
Since the 1960s, due to the economic crisis, many Sarhuinos had to migrate to the large cities of Peru, especially the capital, Lima; and in the 1970s, some of them began to paint a new version of the Tables intended for the urban market. In the new Tables, of rectangular formats, the painters represented traditional scenes of rural life in the community of Sarhua such as festivals and rituals, communal work, agricultural and livestock work, myths and stories.
Since the 1990s, Sarhuino painters also decided to address the social conflicts that afflicted the community and created series in which they addressed topics such as the internal war and the life of migrants in Lima. The first Tables made in Lima were the work of the painters Primitivo Evanán and Víctor Yucra. They were joined shortly after by the young Sarhuinos Juan Walberto Quispe and Julián Ramos.
In 1982, Primitivo Evanán, Juan Walberto Quispe, Bernardino Ramos and Valeriana Vivanco founded the Association of Popular Artists of Sarhua (ADAPS), which continues to this day and has been fundamental for the development of Sarhua painting in Lima.
At first, the ADAPS painters were only men, but when the Board business began to prosper, women also began to paint in the workshop. Painters such as Valeriana Vivanco, Gaudencia Yupari, Norma Quispe, Luisa Romaní, Irene Gómez, among others, join.