Dreams of a Common Future (2018)
Ceramic, fabric, wood, turning pedestal, paper, charcoal, pencil, soft pastel.
WHERE ARE THEY? (2018)
Installation of sculptures made with diverse found objects, white cloth and plaster.
600 x 400 cm
Installation of sculptures made with clay and wood.
70 x 40 cm
"MOM WAS SUPPOSED TO BRING ICE-CREAM” (2018)
Cotton cloth, glue, latex, dress, leggings, construction cables, latex and metal.
Are They Still There (2017)
Glass, plaster, potatoes, wood, and sculptures made with found objects and fabric
“Girl’s Trauma” (2017)
128 x 126 x 104 cm
Piece of wood found on the street after a storm, teddy bears, boy clothes, diaries, wedding photo, plastic roses, mattress foam, glass, acrylic paint, styrofoam, white cloth, furniture fabric, acrylic wool, cardboard, plywood and metal.
”No Shadow, No More” (2016)
140 x 200 x 100 cm
Pink plastic children’s chair (burnt), animal skin with hoofs, rose sticks, cloth, silicone, coffee machine, white cotton bedsheets stiffened with glue, cardboard, plywood and metal.
Suffocation (2017) 180 x 120 x 100 cm
Fisher’s chair and equipment, old television, wires, couch pieces wrapped in cloth, and white cotton bedsheets stiffened with glue.
Emptiness series (2017)
First photo: 220 x 100 x 40 cm
Second photo: 180 x 100 x 40 cm
Third photo: 130 x 100 x 50 cm
White cotton, stiffened with glue.
Struggling II (2017)
140 x 118 x 90 cm
Chairs with leather cover, rolled mattress, dirt, teddy bears, fiber fill, white cotton stiffened with glue.
From The Deep Ocean (2017)
Installation with video and sound. Video called: “expectations”.
White cotton stiffened with glue, TV screens, audio boxes.
185 x 90 x 20 cm
Transformed mattress, dirt, wires, foam.
Eleonor La Rosa (2016)
135 x 75 x 5 cm
Chair part, bed sheet and glue.
Struggling I (2016)
Cushions, chair, glue, draad, foam.
45 x 60 cm
Rice paper, plastic, silicone, soil, wood, dirt.
170 x 80 x 30 cm
Burned mattress and encrusted metal wire.
Fujimori’s palace (2016)
5 x 6 mt
Old found mattresses, metal, dirt, video called “Nippon lover”.
Installation with variable dimensions
Sink full with orange paint and water, cushions, mattresses parts,
chair, orange rope.
(Orange water drips from sculpture).
4 x 3 mt
Fabric, oxide in fabric, wires, foam, metal, chain.
How many more? (2016)
66x 42 x 15
Cushion with oily dirt found in the street, metal.
One more time (2016)
300 x 240 x 83 cm
Dirty cushion, soil, electricity cables.
Stitchy and Deep (2015)
Installation variable dimensions ceramics, wol, pallet
Sculpture at the Oude Kerk,
300x 100 cm
cardboard, epoxy, glue, foam, wood
This video is using the voice of a fictional character representing the Mexican immigrant woman, who talks to the tyrant. The monologue aims to manipulate the tyrant’s plans to oppress. The images show something that is unwanted in the eye’s of the tyrant, this is a strategy used by the woman to gain power. In this case the oppressed becomes an oppressor. The video will be presented in a tv screen using USB, and will be placed inside of one of the shelfs at the Brewery space.
A PLACE TO BE MYSELF?
This video is the registration of a sculptural action that took place at the Vishal in Haarlem. This sculptural action aims to mirror western society reaction towards the migration of refugees. It reflects upon the ways in which many refugees stories have been silenced in order to make irrelevant their request for asylum. Here the exhibition space becomes a battle field, in which the participants of the action strive for different goals. Mohannad tells his story as a refugee, while Magali forms a sculpture around his body, in a way that she ends up covering him completely. The sculpture becomes a sort of monument about Mohannad’s life and an instrument for silencing.
My First Fifteen Years (2018)
300 x 220 cm
Diverse materials and objects on canvas.
Fat black and perfumed series (2017)
I am blue series (2017)
Superrabit powerforce counterattack series (2017)
The return series (2017)
Ever Lasting Neon Light (2015)
Space series (2012)
Inspired in the world that surrounds me; I observe human behaviour and psychological response in relation to social, political and historical structures. This includes observing processes such as the search of refuge and protection, rituals of liberation, destruction, the search of identity and metamorphosis. There is a deep interest in understanding history and the creation of a myth. As they have consequences in the use of the space (within a territory); and they may later define our relation to land, human rights and behaviour within that space.
I am aware of the influence interculturality has in my life, as a context rich in symbols and rituals, and in a material culture that aims to express internal and collective worlds. It also gave me the chance to become politically and socially aware of my position in the world. I observe multicultural influences on situations of everyday life. Questions that arise are: How are diverse co-existing world cultures understanding issues like the organisation of space, social inclusion, justice, democracy and identity forming. My working methods are also influenced by years of study and field work in the social sciences.
My work aims to provide a visual reflection about the complexity of the collective and individual human experience. Using almost anthropological and archeological working methods; I follow material human traces, visible in waste, in the use of space, in architecture, and objects.
My art work reacts with physical and metaphorical gestures to my observations; through sculptures, installations, collage, drawings and video work. Artistic strategies in all of these mediums are inspired in acts of abstracting, mixing, contrasting, and borrowing; from objects, cultures and techniques for the creation of meaning.
Working with contrast, both in the construction of atmosphere, in the use of colour, size, texture and in the election of materials for my work is a constant factor. Work aesthetics and some processes are influenced by Peruvian Indigenous Art, Baroque, Arte Povera and Post- Minimalistic art.
“Magali Llatas Berrios combines a strong sense of observation with a natural instinct for imagery in relation to the topics of interest. The conciseness of her work, and talented ease with which she develops it, are the result of a focused and organic working process, as if she is following a hidden execution plan. Her imaginative thinking process enables her to deal with a personal mix of content in an un-compromising way, powerful and at times radical and confrontational. With a weird, rich versatility of means, she seduces the viewer to get involved in and accept her re-interpretations of wasted materials with political cross-references in the ‘surrounding world’; she takes her Peruvian background in full account there. Her tongue- incheek approach bounces simultaneously on issues such as the cultural and subversive, capitalistic materialism, as well as double layered display of the dark side of the human mind in regard to oppression and exclusion. Magali’s work suggests an invitation to question ideas of so- called reality, truth and myth in contemporary 21st society”.
Written by Roos Theuws, March 2017
artist name: Maga Berr
Magali Llatas Berrios
Born in Lima–Peru
Lives and works in Amsterdam, The Netherlands
|2012-2017:||Bachelor Fine Arts, Gerrit Rietveld Academy, Amsterdam, The Netherlands. Thesis key words: Power Dynamics of Oppression, the Artist as a Shaman, Homeopathic Healing in Art.|
|2005:||Postdoctoral Education in International Development Studies, Radboud Universiteit, Nijmegen, The Netherlands. Thesis on Politics of International Cooperation for Development.|
|2002-2004:||Master in International Development Studies, University of Amsterdam, The Netherlands. Thesis on the dynamics of Racism, Multiculturalism, De-colonialism, Environmental protection and Empow- erment in Education System in the Amazon rainforest in Peru 2004: 5 months field research in the Amazon rainforest of Peru, for MA thesis on inter cultural education.|
|1996-2000:||Bachelor in Communication Sciences, specialisation in Film and Television, University of Lima, Peru.|
|2005-2011:||Worked as a coordinator in diverse international social and environmental projects (in South East Asia, Europe and Latin America), at organisations such as Oxfam-Novib, Amnesty International and Both ENDS. Research on environmental and social inequality in diverse regions of the world, gathered experience in bottom up approach for participatory project development, facilitation processes, intercultural communication and project management.|
|1999-2002:||Worked in the broadcasting business in Peru in diverse positions as set journalistic researcher, designer, script writer, photographer and producer. Gathered relevant information about the socio-political situation in my own country, Peru, by developing journalistic research.|
Residency exhibition, CBK Amsterdam Southeast, 2019 (upcoming).
Residency exhibition, Despina, Rio de Janeiro, Brazil, 2019 (upcoming).
Residency exhibition, CBK Amsterdam Southeast, 2018 (upcoming).
“On my way to the Galactic Supermarket, need anything?”, Garage Rotterdam, 2018.
“New Found Land”, RADION, Amsterdam, 2018.
“Jetzt Schlägt's Driezehn”, V & B showroom, Rotterdam, 2018.
“Bougie 2017”, CBK Amsterdam, 2017.
“Summer of Love”, Vishal, Haarlem, 2017.
Graduation Show, Gerrit Rietveld Academy, 2017.
“Notes”, Peer Paper Platform, Amsterdam, 2017.
"Syzygy", Gerrit Rietveld Academy, Amsterdam, 2016.
"Excellence. Simply delivered. (1/3)", as part of the Uncut Festival, Brakke Grond, Amsterdam, 2016 "For example: etc.", A Lab, Amsterdam, 2016.
'Wonder and Wander', De Oude Kerk, Amsterdam, 2015.
Part Two, Gerrit Rietveld Academy, 2015.
Dogtime 2, Gerrit Rietveld Academy, 2014.
“BIT(e)S”, Sixty One Gallery, Amsterdam, 2014.
Dogtime 1, Gerrit Rietveld Academy, 2013.
Open day at Artless, 2012.
Residencies and Orientation trips:
August - October 2019: Residency H-Lab at CBK Amsterdam SouthEast, The Netherlands (upcoming)
May-July 2019: Residency Despina, Rio de Janeiro, Brazil (upcoming)
January 2019: Orientation trip to Pre- Colombian ceramic historical places in Peru - Sechura desert (upcoming)
November 2018: Residency H-Lab at CBK Amsterdam SouthEast, The Netherlands
August 2018: Residency H-Lab at CBK Amsterdam SouthEast, The Netherlands
May 2018: Orientation trip to Pre- Colombian ceramic historical places in Peru - Sechura desert
2017-2018 Coaching program for recently graduated artists, Bcademie-Rotterdam.
January 2018: Training for Trainers from The One Minutes initiative, Amsterdam.
2018: Screening of “expectations’’ at SWITCH, Roodkapje Rotterdam.
2017-2018: Organisation of collective “The Bridge”, where artists and refugees were working together to bring their reflections about migration to the outside world.
2016-2017: Participation in working group of the “Flag of Compassion” project by Rini Hurkmans.
2007: One week course on International Financial Institutions by the Heinrich Böll Stiftung, in Washington DC. Study of the Structure and Operations of the World bank and International Monetary Fund.
Uncovering the Wound, The Empowering Capacity of Art, Thesis for BA in Fine Arts, 2017
From the Educational Policy to the School Reality: A case study in Peru, Thesis for MA in International Development Studies, 2004
Magali Llatas Berrios