Ana De Orbegoso

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Ana De Orbegoso is an interdisciplinary visual artist and experimental video artist. Works between New York and Lima. Her artistic practice explores different aspects of identity through the use of popular iconography. Its objective is to confront the viewer with a mirror in order to awaken memory.

De Orbegoso has received a fellowship from the New York Foundations for the Arts in Photography and a grant from the National Association of Latino Arts & Culture in 2008; was selected for Descubrimientos PhotoEspaña07 / 09 and for the I Biennial of Lima, Peru; received the 1st Prize at the I National Photography Salon of the ICPNA 2006 in Lima, Peru and the Focus On New Works Award in New York in 2002. She was a finalist in the National Competition of Women Artists in USA of the Air Gallery in New York in 1993 and in The Best Photography Annual of the Photographer's Forum, (1993) among others. 

Her work is in the collection of the National Museum of Women in the Arts in Washington DC; Fine Arts Museum of Houston; Art Museum of San Marcos, Lima; U. Lehigh, Pennsylvania; MALI Museum of Art of Lima; Institute of Photographic Art of Lima; ICPNA Instituto Peruano Norteamericano de Lima; Gorman Museum UC Davies, Bellarmine University, Violy McCausland Collection, Joaquim Paiv Collection - Museum of Modern Art of Rio, and Alejandro Castaño Collection, among others.

Her short film "La Última Princesa Inca" won Best Experimental Short Film at the 2015 Big Apple Film Festival and at the California Women's Film Festival 2016. He also received a special mention from the jury at the Extreme Film Festival of Veracruz "for recovering aesthetic and plastic a historical moment of Latin America ".

Her photographic work "Vírgenes Urbanas", a decolonization work inspired by paintings from the Cusqueña School, has been exhibited since 2006 around Peruvian territory, in an itinerant exhibition with interaction of local artists, having visited more than 33 towns and cities until the moment.

Between her individual samples they appear: Spectacle The Last Inca Princess in the huacas, Sanctuary of Pachacamac, Lima (2018); Urban Virgins, Inca Garcilaso Cultural Center, Ministry of Foreign Affairs, Lima (2018); Hymns / Anthems, Consulate of Peru in New York (2017); Show The Last Inca Princess in the huacas, Huaca Mateo Salado, Lima (2017); And what do we do with our History ?, CEDE Gallery, Lima (2017); The Last Inca Princess, Pedro de Osma Museum, Lima (2016); Arte Donde Vallas with the work Vírgenes Urbanas in 20 publicity panels around Metropolitan Lima (2015); Hymns, Embassy of Peru in Washington DC; Selected works in Crossing Arts NY (2013); Icarus, Bendheim Gallery, Greenwich Arts Council, Conn., USA; The Invisible Wall at the Instituto Cervantes New York (2011); Urban Virgins, Museum of the Nation, Peru (2009); You Are Here, Centro Cultural Ccori Huasi, Lima; Fotonoviembre07 Tenerife, Spain; UC Davis, Gorman Museum (2007); Photography Biennial of Lima (2007); U. of Bellarmine Louisville, Kentucky (2007); Bespoke Gallery, New York (2007); Inka Museum, Cusco, Peru (2006); Municipality of Miraflores, Lima, Peru (2005); Lucía de la Puente Gallery, Lima, Peru (2005); ICPNA Lima, Peru (2001). 

Her group exhibitions include: Qulla Raymi Killa, Amano Museum, Lima (2018); L'Art Contemporain Péruvien / ComparArt, Fondation Taylor, Paris, France; 1st Photography Biennial of Cusco, Peru (2017); Peru.

And what do we do with our history? 

How do we interact with our historical objects? How do we fit them into our contemporary life?

This project generates a journey through the different modalities adopted by the portrait and analyzes the historical relevance of it.

Artistic genre that responds to the natural aspiration of man to perpetuate his appearance, to transcend, whether as a symbol of authority, family, social memory or identity sign.

The deconstruction of the iconic image of the huaco mochica portrait (precedent of the representation of the human face in the Inca civilization) and its subsequent reconstruction through references, generates new iconographies with their respective meanings and signifiers. By appropriating our history adapting it to our daily life, we make it our own, live with us and, therefore, transcend and transcend.