Article excerpt

Fernando Bryce's Vision de la pintura occidental (Vision of Western Painting), 2002, consists of thirty-nine offset reproductions of canonical Western paintings hung salon style, surrounded by two additional walls of primed copies of ninety-six ink drawings aligned in double rows. The offset reproductions are original objects from the Museo de Reproduction Pictot leas in Lima, Peru, which was initiated by the city's t Universidad National Mayor de San Marcos in 1951 and closed in 1997. The museum's aim was to provide access to reproduced European masterpieces that Peruvians could not otherwise see in person. For the printed drawings, Bryce copied, by hand, typewritten letters and inventory statements Iron' the museum in all their detail, which in turn appear as copies: an archive of an archive of an archive (an alternate version of the piece ironically swaps photographs of the reproductions and Bryce's original drawings). Yet the end result escapes absurdity or tautology, thanks to a kind of signature: the artist's imperfect, highly recognizable drawing style till particular, his handwriting is always the same, even though he is usually replicating mechanical text). Consistent from image to image, homogenizing all it scans, Bi vice's hand converts "authentic'. traces of history into meticulously selected choices of what to display.

This work was among those shown in "Fernando BryCC: la historic inoderna' (Fet nando Bryce: Drawing Modern I history). Organized by Tatiana Cuevas and Natalia Mailuf, the exhibition was divided between one public and one private institution, reflecting Bryce's standing as one of Peru's most prominent contemporary artists, with the Centro Fundacien TelefOnica showing earlier works and the Museo de Arte de Lima bringing the story up to date. (The exhibition will travel to the Museo Universitario Arte Contemporaneo in Mexico City, and then to Fundacien Constantini, Museo de Arte Latinoamericano de Buenos Aires.) After studying in Paris in the late 1980s and then living in Berlin, Bryce returned to Lima in 1999 and developed the prolific drawing practice he terms antaisis mintetico (mimetic analysis): the copying of images or entire documents from archives so that they can he considered as groups. …


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