La exposición Entre Altares y Los Andes propone un recorrido visual y conceptual por la obra del pintor cusqueño Marcos Zapata, uno de los principales representantes del barroco mestizo andino. A través de ocho obras seleccionadas, la curaduría explora cómo las imágenes religiosas europeas fueron reinterpretadas dentro del contexto cultural andino durante el siglo XVIII, dando origen a nuevas formas visuales atravesadas por el sincretismo religioso, político y simbólico.

This gallery shows gender Inequality in museums and how male artists often get more attention and space than women artists. I selected these works to show this imbalance in a visual way by combining well-known museum pieces, a feminist artwork, and statistics. Together, the images help show how Representation in museums is not equal and is shaped by decisions about what is valued and displayed.

잇 이 망ㅣ 자화상 앤드 마이 도그

This exhibition focuses on the way Asian artwork is influenced by changes in the relationship between tradition, power, spirituality, and culture through various eras in China, Japan, and India. Through the integration of artworks from the fields of sculptural art, architecture, landscape painting, pottery, and woodblock printing, the exhibition shows that artistic practice served not just an aesthetic purpose, but also political and spiritual purposes, spiritual belief, and cultural continuity. The works that have been chosen show how Asian artists reacted to new circumstances and remained true to their tradition. As stated by Michael Sullivan, an art historian, traditional Chinese art is characterized by the harmony between man and nature. This is not only relevant to Chinese culture, but the whole Asian tradition of art, which implies a relationship between nature, spiritual world, and man. In general, art reflects culture, religion, politics, and other aspects of life. Starting with the terracotta warriors and horses of Qin Shi Huang, the exhibit sets the tone for art as an extension of power and spirituality. These sculptures symbolize royal might, military prowess, and superstitions regarding death. They illustrate the idea that art has long been employed to establish control that underlies early Asian artistic production. This concept of art structure and refinement is carried further in the “Lantern-Shaped Porcelain Vase” of the Qing Dynasty era, in which skill and decoration indicate culture and international exchange. In this case, the importance of art is not only functional but also aesthetically pleasing, thus showing how material culture could show status and refinement. On to the next artwork, the philosophy aspect of art is highlighted through Fan Kuan’s masterpiece, the “Travelers among Mountains and Streams.” The inspiration behind the work of art comes from Daoism and Confucianism philosophies, which portray man as being insignificant in nature. Then the Great Stupa of Sanchi exemplifies a sacred form of architecture in its association with Buddhist traditions. Symbolizing enlightenment and rebirth, the stupa is an architectural masterpiece that also serves as an illustrative relief, which highlights the importance of art and architecture in the practice of religion. Lastly, the Great Wave off Kanagawa by Hokusai is a reflection of nature’s power and volatility in Japanese culture. By incorporating elements of composition and motion, the work captures the contrast between human vulnerability and powerful nature. In all, these pieces illustrate the ways through which Asian art manages to preserve its traditions even amidst changing cultures. These pieces show the deep connections among the themes of power, spirituality, craft, and nature that characterize Asian.

건물주

For this curation, I bring together artworks that explore femininity not as something natural or fixed, but as something socially constructed, performed, observed, and consumed. Across photography, installation, sculpture, and performance art, the selected works examine the pressures placed on women to embody idealized versions of beauty, behavior, vulnerability, and desirability. Rather than presenting femininity as stable or authentic, these artists reveal how female identity is shaped through performance, spectatorship, domestic expectations, and systems of control. One of the central questions guiding this exhibition is: how much femininity is genuinely self-defined, and how much is constructed through social expectations and visual culture? I am interested in artworks that appear visually elegant or refined on the surface while simultaneously carrying emotional tension, discomfort, or psychological unease beneath that appearance. The exhibition progresses from staged feminine presentation toward bodily vulnerability, fragmentation, and objectification, allowing viewers to experience femininity as both spectacle and pressure. Some works directly depict the female body, while others imply it through objects, installations, or fragments. Together, they suggest that femininity is continually shaped through performance, observation, and public consumption. In Ways of Seeing, art critic and author John Berger writes, “Men act, and women appear.” Berger argues that women are conditioned to observe themselves through the imagined perspective of others. Rather than simply existing, they are often expected to shape their appearance and behavior around being seen, judged, and consumed visually. Berger’s ideas are central to this exhibition because each artwork examines the tension between authentic identity and performed femininity. Across these works, femininity becomes staged, disciplined, controlled, or fragmented under public observation. Whether through cinematic self-presentation, domestic performance, bodily vulnerability, racialized spectacle, or artificial beauty standards, the artists reveal how women are frequently transformed into images to be viewed rather than individuals allowed to exist freely. Several concepts from Berger’s work inform this project. First, women are often positioned as images or spectacles for visual consumption. Second, femininity becomes performative through self-surveillance, as appearance, posture, beauty, and behavior are shaped by the awareness of being watched. Finally, Berger connects observation to systems of power, suggesting that looking is not neutral but can shape identity, behavior, and bodily autonomy. The exhibition follows a deliberate sequence. It begins with Cindy Sherman’s staged self-portrait, where femininity appears cinematic and carefully performed. Martha Rosler then introduces the pressures of domestic labor and behavioral expectations, exposing frustration beneath everyday routines. The emotional center is reached with Marina Abramović’s Rhythm 0, where the female body becomes vulnerable to public interaction and control. From there, Kara Walker expands the discussion by connecting femininity to racialized spectacle, consumption, and historical exploitation. Finally, the exhibition concludes with ORLAN’s surgical performance work, where femininity is physically reconstructed through cosmetic procedures shaped by historical beauty ideals. This progression allows the exhibition to become increasingly psychologically unsettling, moving from polished feminine appearance toward fragmentation, vulnerability, and the consequences of being shaped through systems of observation and control. Ultimately, the exhibition invites viewers to question how ideas of femininity are produced, maintained, and consumed, while considering the emotional and physical costs of living under constant scrutiny and expectation.