PRESS - INTERVIEW - VIDEO
EL COMERCIO REVIEW 2016
April 27, 2016
COORDENADAS DISTANTES
Galeria del Icpna de Miraflores.
Por Orlando Bardales
La premisa que sirve de paraguas para la muestra “Coordenadas distantes”, de la artista peruana Alicia Ehni, es que se puede vivir 17 años fuera del Peru (en este caso, Nueva York), pero las raices siguen intactas.
La serie de esculturas en resina y piedra de la artista estaran en exhibicion hasta el sabado 30 en la galleria del Icpna de Miraflores. Antes de dejar el Peru, Alicia conversa con El Comercio: “Coordenadas distantes” significa mi conexion con el Peru. La piedra es lo atemporal, lo silencioso, lo concreto. Ademas, lo peruanisimo. Los objetos que van en pares son las dos caras que siempre nos ofrece la realidad. No hay un solo mode de mirarla, sino dos”.
El Comercio, Review 2015
Alicia a través del espejo
Por Enrique Planas
PATTERSON SIMS LECTURE 2014
Alicia Ehni - Frederico Seve Gallery / Latincollector
Fotos de Javier Zea
COSAS MAGAZINE 2015
ALICIA EHNI PRESENTA SU PRIMERA MUESTRA EN LIMA
THE OTHER SIDE
Galeria Lucia de la Puente
Por Gloria Ziegler
La escultora regresa al país para exponer “Reflejos de Piedra” en la Galería Lucia de la Puente. En esta serie, nacida en Italia pero con genética precolombina, la artista peruana explora su obsesión por las formas, los opuestos y la luz.
Hace dos años, mientras tallaba una escultura de mármol de Carrara en una pequeña comunidad de Italia, Alicia Ehni entendió que la gravedad podría ser su mayor enemigo. Había llegado a La Toscana poco después de presentar su primera exposición individual en Nueva York, decidida a trabajar en un proyecto que indagaría en la relación de los objetos con sus opuestos.
Allí, cerca de las canteras, comenzaría a jugar con la fuerza de las formas hasta idear las seis esculturas soberbias –que alcanzan los 150 kilos – y las piezas a menor escala que componen “Reflejos de piedra”, el trabajo que la artista peruana radicada en Nueva York presenta en la Galería Lucia de la Puente, hasta el 10 de octubre.
“Me interesaba trabajar esta idea de que siempre existe un paralelo. Es algo que se puede llevar a cualquier aspecto, incluso hasta a la forma de mirarnos a nosotros mismos, que es opuesta al modo en que nos ven los demás”, explica Ehni. Así, a partir de esta inquietud y de su interés por la luz y el rol que ocupa en la percepción de los volúmenes, desarrollo una serie de obras de abstracción geométrica con juegos de espejos, donde se puede rastrear un ADN con reminiscencias precolombinas.
INTERVIEW WITH PATTERSON SIMS
October 2013
The following interview derives from a series of conversations and email exchanges between the artist Alicia Ehni and the curator Patterson Sims, in the weeks before the opening of “Mapping Stones” exhibition at Frederico Seve Gallery in New York.
Patterson Sims is the President of the Board of ICI. He has worked in the arts since 1969, and was Director at the Montclair Art Museum in New Jersey from 2001-2009. His distinguished career as a museum professional includes serving as Deputy Director for Education and Research Support at the Museum of Modern Art, in New York. Prior to this, he was Associate Director for Art and Exhibitions and Curator of Modern Art at the Seattle Art Museum between 1987 and 1996, and was the first curator designated to oversee the permanent collection of the Whitney Museum of American Art, where he worked from 1976 to 1987. He began his career as Assistant Director of O.K. Harris Works of Art, in the then newly-developing arts district of Soho, in 1969. Sims has organized one-artist exhibitions of numerous artists including Ellsworth Kelly, John Storrs, Jan Matulka, Viola Frey, Fred Wilson, Claire Zeisler, Willie Cole, and Hedda Sterne. He was a co-curator of four Whitney Biennial exhibitions.
PATTERSON: When did you know you would be an artist and, I assume later, a sculptor?
EHNI: Since I was very young I was always painting and drawing. When I was five years old, I remember being delighted when my pediatrician framed a group of my drawings and put them up in his office. When I was growing up, my mother designed jewelry and worked in ceramics and other media. I particularly recall a hanging macramé piece with ropes and a big whalebone that she found on the beach. She would take me to the magical two floor ceramic studio of Consuelo Aninat, a small circular room with a skylight at the top of the stairs. The room was filled with jars of her glazes, different paints, enamels, and pigments. I wandered around an adjacent big dark room filled with ceramic pieces that had been fired too long and left there, a vibrant cemetery of her many students’ art. It was years later when I was in my late teens, studying with Margarita Checa at the Cristina Galvez Atelier in Lima, that I became seriously committed to sculpture.
ARTNEXUS MAGAZINE 2014
April 2014, Review
ALICIA EHNI - Frederico Seve Gallery / Latincollector
By Florencia San Martin
Fourteen alabaster, marble and resin sculptures, plus eleven drawings by Peruvian artist Alicia Ehni were exhibited in her first solo exhibition in New York from October 17, 2013, through the end of January of this year at the Frederico Sève Gallery. Through the juxtaposition of geometric forms derived from cubes, cylinders, pyramids and spheres, Alicia Ehni—who graduated from the Pratt Institute in 1999, after studying six years at the Pontifica Universidad Catolica in Peru—generates abstract objects that range from smaller ones that measure 8 x 8 x 2 in. to bigger ones of 11 x 11 x 32.5 in. The results are sculptures that, in representing geometric abstractions, are reminiscent of both the ceramic and textile works from pre-Hispanic Peru. In this manner, by operating from the “abstract” component as a point of departure because of its analogy with the local cultural and visual history of Peru, Ehni develops a binary language that, on the one hand, refers to the visual history of the region and, on the other, to her memories pertaining to the Peruvian landscape.
Alicia Ehni, KM 245 P.H., 2007, carved alabaster, 16.8 x 15.5 x 10.5 in
Curated by Patterson Sims and titled Mapping Stone, the exhibition consists of three series, each involving a different material: alabaster, marble and resin. Although the three series formally coincide in their geometric abstraction and in the white of their surfaces, each demonstrates a reference for a different object; a unique aspect of the Peruvian landscape. In this manner, the moon, the rocks and the mountains constitute the sculptural imaginary that Alicia Ehni exhibits as a kind of inventory.
Alicia Ehni, Turning Stone series 2013, marble, dimensions vary.
El Comercio review 2013
November 02, 2013
El paisaje peruano entre rascacielos
Primera Individual de Alicia Ehni en EE.UU.
En la Galeria Frederico Seve de Nueva York, la escultora limeña inauguro su muestra “Mapping Stone” o “Piedras en el mapa”, inspirada en el perfil de nuestra cordillera.
Esculturas en marmol, alabastro y resina , así como dibujos que ilustran su proceso creativo. “Mapping Stone” (“Piedras en el mapa”), titulo de la primera individual de la escultora Alicia Ehni, conecto el riguroso paisaje peruano con el publico neoyorquino que convoca desde mediados de octubre en la galería Frederico Seve de la Gran Manzana.
La exposición es curada por Patterson Sims, reconocido en el medio artístico por su labor en el Museo de Arte Moderno de Nueva York (MoMA) y en el también prestigios Museo Whitney.