On Thursday, 20 November, at 12 noon, the bibliographic exhibition “Paréntesis: una vanguardia invisible” (Parenthesis: An Invisible Avant-Garde) will open at the Inca Garcilaso Cultural Centre of the Ministry of Foreign Affairs (Jr. Ucayali 391, Lima).

The Paréntesis “Group” existed in Lima between March and July 1979. Although short-lived, its intensity had a decisive impact on the local art scene. Between 1965 and 1990, there were a number of interesting visual arts collectives in Peru.

Little is known about them, their members, convictions, ideas, and processes. A crucial aspect that characterised the Paréntesis Group as one of the most radical was that it constituted a collective workspace and, in correlation with this, committed to a visual language of shared icons and references.

The exhibition was curated by Augusto del Valle and provides an opportunity for the public to connect with this artist collective through photographs, press articles, books, letters and other materials that document their process, from their emergence, their heyday and finally, its crisis.

Conversatorium

On Thursday, 20 November, at 12:30 p.m., the Inca Garcilaso Cultural Centre of the Ministry of Foreign Affairs will hold a conversatorium as part of the bibliographic exhibition “Paréntesis: una vanguardia invisible” (Parenthesis: an invisible avant-garde). The event will feature Lucy Angulo Lafosse, Miguel Sánchez Flores, Cuco Morales, Fernando Bedoya and Augusto del Valle Cárdenas.

Lucy Angulo Lafosse studied at the Escuela Nacional de Bellas Artes (National School of Fine Arts) and holds a master’s degree in engraving from UNAM in Mexico. She has been a member of various avant-garde collectives and has devoted herself to researching Andean culture in its myths, signs and symbols. In 2018, she received the distinction of “Meritorious Personality of Culture” for her professional career.

Miguel Sánchez Flores is a communicator, writer, and university professor. He holds a degree in journalism and a master’s degree in art history and curatorship, both from the Pontificia Universidad Católica del Perú (Pontifical Catholic