WHERE ARE THEY?
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”
Cotton cloth, glue, latex, dress, leggings, construction cables, latex and metal.
Are They Still There
Glass, plaster, potatoes, wood, and sculptures made with found objects and fabric
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”
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.
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.
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.
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
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,
Eleonor La Rosa
135 x 75 x 5 cm
Chair part, bed sheet and glue.
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.
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?
66x 42 x 15
Cushion with oily dirt found in the street, metal.
One more time
300 x 240 x 83 cm
Dirty cushion, soil, electricity cables.
Stitchy and Deep
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
300 x 220 cm
Diverse materials and objects on canvas.
Fat black and perfumed series
I am blue series
Superrabit powerforce counterattack series
The return series
Ever Lasting Neon Light
Inspired in the world that surrounds me; I observe behaviour in social, political and natural structures. It fascinates me to observe processes such as the search of refuge and protection, rituals of liberation, destruction, the search of identity and metamorphosis. My work reacts with physical and metaphorical gestures to these observations, reflecting about my own experience and perceptions as a human being.
Sculptures, installations, collage, drawings and video work are the mediums I use. Physical gestures though collage and sculptural work entail different actions like covering stuff, burning, sewing through objects associated to the research and collecting. The gesture is reflecting on physic needs, fantasies and desires. It has a ritualistic element on it, and the materials I use go through diverse symbolic actions. Often I use found objects that manifest meanings and associations to certain behaviour. The objects get a new life and play a new role. They get transformed in the process of my work.
I am also interested in analysing the human experience of architecture within installations and sculptural work. Corners, the hight of ceilings or the way our footsteps feel within a space and landscape are taken into consideration to create atmospheres with symbolic meanings. My practice includes social interactions and the creation of working groups to deal with certain social issues through art. Recently I initiated a working group with Syrian refugees to understand the process of migration as a global phenomenon.
My practice is influenced by history, phenomenology and by art movements such as Arte Povera and Post-Minimalist 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
Magali Llatas Berrios
Born in Lima, Peru Lives and works in Amsterdam, The Netherlands
Educational Background and International Work Experience
|2017-2018:||Coaching program for recently graduated artists, Bcademie-Rotterdam.|
|January 2018:||Training for Trainers from The One Minutes initiative, Amsterdam.|
|2012-2017:||Bachelor Fine Arts, Gerrit Rietveld Academy, graduated July 2017.
Thesis key words: Power Dynamics of Oppression, the Artist as a Shaman, Homeopathic Healing in Art
|2007:||One week course on International Financial Institutions by the Heinrich Böll Stiftung, in
Study of the Structure and Operations of the World bank and International Monetary Fund
|2005:||Postdoctoral Education in International Development Studies, Radboud Universiteit,
Thesis on Politics of International Cooperation for Development.
|2004:||Field research in the Amazon rainforest of Peru, for MA thesis on intercultural education.|
|2002-2004:||Master in International Development Studies, University of Amsterdam.
Thesis on the dynamics of Racism, Multiculturalism, De-colonialism, Environmental protection and Empowerment in Education System in the Amazon rainforest in Peru
|1999-2002:||Worked in the broadcasting business in Peru in diverse positions as set designer, script writer, photographer and producer.|
|1996-2000:||Bachelor in Communication Sciences, specialisation in audiovisual communication (Film and Television), University of Lima.|
|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.|
"Jetzt Schlägt's Driezehn”, Bcademie-Rotterdam, 2018.
“Bougie 2017”, CBK Amsterdam, 2017.
“Summer of Love”, Vishal, Haarlem, 2017.
Graduation Show, Gerrit Rietveld Academy, 2017.
“Notes”, Peer Paper Platform, Amsterdam, 2016.
“Syzygy”, Gerrit Rietveld Academy, Amsterdam, 2016.
“Excellence. Simply delivered. (1/3)”, as part of the Uncut Festival from the Gerrit Rietveld Academy, Amsterdam, 2016.
“For example: etc.”, A lab, Amsterdam, 2016.
‘Wonder and Wander’, De Oude Kerk, Amsterdam, 2015.
Final Exhibition 1st Year Fine Arts, Gerrit Rietveld Academy, 2015.
Final Exhibition Second Basic Year Dogtime, Gerrit Rietveld Academy, 2014.
"BIT(e)S,Sixty One Gallery, Amsterdam, 2014" Final Exhibition First Basic Year Dogtime, Gerrit Rietveld Academy, 2013.
Open day at Artless, 2012.
Uncovering the Wound, The Empowering Capacity of Art, Thesis for BA in Fine Arts, 2017.
Space and Places, 2015.
Old Lady’s House, 2013.
From the Educational Policy to the School Reality: A case study in Peru, Thesis for MA in International Development Studies, 2004.
Screening of “expectations’’ at SWITCH, Roodkapje Rotterdam, 2018
Uncovering the Wound, The Empowering Capacity of Art, Thesis for BA in Fine Arts, 2017
Space and Places, 2015
From the Educational Policy to the School Reality: A case study in Peru, Thesis for MA in
International Development Studies, 2004
Magali Llatas Berrios