VERTICAL ORDER AND CARDBOARD: NATALIA IGUIÑIZ AT VIGILGONZALES
The VIGILGONZALES gallery presents Ansío lo que crece mientras cae (I Long for What Grows While Falling), an individual exhibition by Peruvian artist Natalia Iguiñiz Boggio; it highlights, both from a personal perspective and through historical reflection, the symbolic and epistemological aspects that uphold the vertical order of the patriarchal system.
Natalia Iguiñiz Boggio’s academic role as a professor and researcher at PUCP (Lima) remains in constant dialogue with the current expansion of Latin American feminisms. The exhibition is framed within a broader social movement that seeks to restore the notion of the common good as the value that enabled the survival of our species, reminding us that humanity thrives not on competition but on collaboration.
Ansío lo que crece mientras cae aims to demonstrate that it is not the phallic symbol itself but its establishment as a constant point of reference, as a measure against which everything else is subordinated, that has functioned to consolidate the blind glorification of individual success. This obsessive attitude toward power possession can be traced in Western history through canonical monuments to various leaders, Greek columns, and obelisks, which repeatedly replicate the same geometry in architecture. The underlying concepts supporting patriarchal power—rising or elevating—were originally humanity’s way of connecting with something greater that encompasses us.
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Natalia Iguiñiz Boggio. Columna, 2024. Serigrafía sobre cartón, 82 x 250 cm (32.3 x 98.4 in). Cortesía de VIGILGONZALES
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Natalia Iguiñiz Boggio. Hiedra, 2024. Instalación de pared de múltiples serigrafías sobre cartón y calados, 150 x 80 cm (59.1 x 31.5 in). Cortesía de VIGILGONZALES
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Natalia Iguiñiz Boggio. Muro, 2024. Serigrafía sobre cartón, 205.5 x 279 cm (80.9 x 109.8 in). Cortesía de VIGILGONZALES
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Natalia Iguiñiz Boggio. Jardín, 2024. Instalación de serigrafías sobre cartón con corte láser, 215 x 400 cm (84.6 x 157.5 in). Cortesía de VIGILGONZALES
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Natalia Iguiñiz Boggio. Romero, 2024. Serigrafía sobre cartón, 74 x 70 cm (29.1 x 27.6 in). Cortesía de VIGILGONZALES
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Natalia Iguiñiz Boggio. Mala Madre, 2024. Serigrafía sobre cartón, 71 x 150 cm (28 x 59.1 in). Cortesía de VIGILGONZALES
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Natalia Iguiñiz Boggio. Rio, 2024. Serigrafía sobre cartón, 129 x 134 cm (50.8 x 52.8 in). Cortesía de VIGILGONZALES
Iguiñiz seeks to identify the cracks in the system, valuing all that grows and thrives despite it, questioning how fragile this system must be to require so many actions and accessories to sustain it persistently. Actions like carving and perforation aim to dethrone the symbols of patriarchal power; it is through the filtering of cracks and weaknesses that the system will slowly "fall."
Cardboard, the primary medium of the pieces, reflects the aesthetics of consumption. However, the work underscores its potential for reuse and recycling, where the rebirth of meaning is made possible through the transformation of what is depleted. The cardboard is stacked and layered, akin to the layers of historicity being interpreted. In light of a conscious and sensitive stance in the Anthropocene—where forms of life are destroyed in pursuit of unchecked ambition—Iguiñiz invites us to understand that the system is as violent as it is fragile and that a vital power, which we all seem to carry, can gradually transform it.
Natalia Iguiñiz Boggio (Lima, 1973)is recognized for her work as a painter, photographer, designer, and political activist. A graduate in Fine Arts from the Pontificia Universidad Católica del Perú, where she also teaches, her work addresses issues such as gender identity, violence against women, social inequality, human rights, motherhood, and religion. She has collaborated with various feminist and human rights organizations and was a member of the Laperrera collective. Her work has been exhibited in major international cultural institutions and is part of collections such as MOLAA (USA), MALI (Peru), and MNCARS (Spain). In 2018, ICPNA published the book Social Energies / Vital Forces: Natalia Iguiñiz—Art, Activism, Feminism (1994–2018) as part of a retrospective exhibition on her career.
Ansío lo que crece mientras cae will be on display until February 21 at Av. Roque Sáenz Peña 628, 4th floor, Buenos Aires (Argentina).
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