Livia Benavides Galería

William Cordova’s rumi maki series adopts an ethnographic approach to explore shared forms of symbolism embedded in textile traditions and architectural design.

Composed of multi-colored paper collages made from layered recycled paint chips, the works function as cosmological maps, where color and pattern carry meanings shaped by geography, culture, and celestial systems. These compositions bring together sacred geometries and visual histories, connecting Andean references with broader narratives of cultural memory.

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”untitled (rumi maki #104)”, 2024
Collage
216.5 x 230.5 cm

Fátima Rodrigo presenta en el Museo Tamayo (Museo Tamayo Arte Contemporáneo), con la curaduría de Ixel Rion, “Con todo y mi tristeza”. La muestra se despliega como una instalación de sitio específico en el patio central del museo y estará abierta al público hasta el 27 de septiembre.

A partir de los lenguajes visuales del entretenimiento latinoamericano, especialmente las escenografías de programas musicales y concursos, la artista reconfigura estos códigos, desarrollados desde la década de 1960 junto al auge de los medios masivos, para reflexionar sobre cómo lo popular ha mediado el acceso a formas visuales modernas, invitando al espectador a interactuar con la obra a través del sonido y el desplazamiento.

Paolo Salvador’s practice unfolds through an allegorical approach, leading to dreamlike paintings that are free from specific places or time periods. Instead, his work engages a cosmological aesthetic, reflecting on universal experiences such as joy, grief, and connection.

Every act within his practice is carefully considered, from the pigments he uses and their origins, to the rhythm of his breath and the pressure of each brushstroke. Guided by his belief that painting is a form of dance, Paolo Salvador allows intuition to guide the process.

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“Nevado”, 2024
Oil on linen
200 x 180 cm

We’re delighted to announce that Paolo Salvador has been awarded the inaugural Orsman Road Studio Award at Acme (Acme).

As the first recipient of this new ten-year programme, Paolo will take up a two-year studio residency in Hackney from August 2026, supported by a £4,000 materials budget.

Paolo Salvador is a painter whose work explores Peruvian cosmology, personal memory, and transformation across humans, animals, and nature, drawing on mythologies and the landscapes of the Amazon and Andes.

Violeta Quispe is part of the XXIV Bienal Internacional de Arte de Cerveira (BIAC) 2026 (Fundação Bienal Arte Cerveira) from July 18 to December 30, 2026, under the theme “Territórios sem Fronteira”. She is the only Peruvian artist selected among the 41 participating artists.

Marking its 48th edition, and under the artistic direction of Mafalda Santos, XXIV BIAC reaffirms its role as a platform for creation and dialogue within the contemporary art scene. The initiative is supported by the Portuguese Republic - Culture, Youth and Sport / Directorate-General for the Arts, and FBAC is part of the Portuguese Contemporary Art Network (RPAC).

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”Santu ayllu / Sagrada familia”, 2026
Sculpture made from a tree trunk decorated with natural pigments, acrylics, and textile elements.
150 x 100 x 25 cm

 

”COLOR IS MY BUSINESS” de Alexander Apóstol se inspira en las premisas cinéticas y constructivas de lo que en su día fue el arte oficial de la democracia venezolana: un lenguaje de luz, movimiento y optimismo, para construir un juego de ambigüedades a través del color.

Esta serie de trabajo formó parte de una exposición individual de Alexander Apóstol en el MUAC – Museo Universitario Arte Contemporáneo (MUAC - UNAM), México, bajo la curaduría de Cuauhtémoc Medina, y forma parte de “Quítate tú pa’ ponerme yo!”, en exhibición en la galería Livia Benavides.

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(1) “COLOR IS MY BUSINESS”, 2026 
Serie de impresiones fotográficas digitales
Grupo de 12
159 x 314 cm c/u

(3) COLOR IS MY BUSINESS”, 2026
Serie de impresiones fotográficas digitales
53 x 78.5 cm

Alexander Apóstol presenta “PARTIDOS POLÍTICOS DESAPARECIDOS”, una serie que toma como punto de partida el diseño de papeletas electorales en Venezuela después de 1958, concebidas para hacer legibles las opciones ideológicas a través del uso del color.

A medida que los partidos perdieron claridad ideológica y credibilidad, el color dio paso al texto y a la imagen. Alexander Apóstol invierte este proceso eliminando textos e imágenes, dejando únicamente la paleta cromática, como un testimonio del pluralismo que alguna vez existió y del legado del arte constructivo como herramienta de control político.

Esta serie, presentada en la exposición “Postura y geometría en la era de la autocracia tropical” en el Museo CA2M (CA2MCentro de Arte Dos de Mayo), comisariada por Manuel Segade, forma parte de “Quítate tú pa’ ponerme yo!”, abierta al público en nuestro espacio en Barranco.

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(2) De la serie “PARTIDOS POLÍTICOS DESAPARECIDOS” - “NOR Nuevo Orden, FNP Fuerza Nacionalista Popular”, 2026
Impresiones fotográficas digitales sobre papel de algodón; acrílico sobre madera
244 cm x 296 cm total

(4) De la serie “PARTIDOS POLÍTICOS DESAPARECIDOS” - “MONCHO Movimiento de Organización Nacional Con Honestidad Administrativa, OPIR Organización Popular Independiente Revolucionaria, Formula 1”, 2026
Instalación mural compuesta por tres impresiones fotográficas digitales sobre papel de algodón y una pintura mural
370 cm x 305 cm total

Darío Escobar, at the Kinder Building of the Museum of Fine Arts, Houston (Museum of Fine Arts, Houston), presents “Obverse and Reverse,” part of the museum’s collection.

Treating soccer as a kind of global religion, Escobar transforms everyday objects into contemporary relics. By turning balls inside out and meticulously resewing them, he reconfigures the familiar into something almost celestial, where labor, consumption, and symbolism quietly converge.

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”obverse & reverse xiv”, 2014
latex, leather, steel, and string
variable dimensions

William Cordova’s artwork has been acquired by the Obama Presidential Center in Chicago (Obama Foundation), as part of a series of artist commissions developed for the space. The full campus will open to the public on June 19.

In collaboration with designer Michael S. Smith and curator Virginia Shore, the project brings together a group of artists invited to create works that engage with the architecture and experience of the center. One key component involved commissioning a series of striking custom carpets by four celebrated artists, including William Cordova.

A glimpse of “The Golden Crop” by Ximena Garrido-Lecca, part of High Line Art’s 2026 commissions (High Line Art), on view soon at the High Line, New York.

Ximena Garrido-Lecca uses sculpture and installation to highlight the complex relationship between Indigenous knowledge, colonial history, and modern technological and industrial systems. She foregrounds the historical landscape of her native Peru in her practice, yet she draws connections beyond those borders to consider the global impact of resource exploitation.