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Natalia Revilla has made the individual exhibitions 20 words and Lo invisible es un lugar (Wu Galería, Lima), El otro sitio and Outgraphy (Galería Pabellón 4, Buenos Aires), El Porvenir es el pasado que viene (CC. Ricardo Palma, Lima) among others.
Recent group exhibitions include: Paper Routes: Women to Watch 2020 (National Museum of Women in the Arts, Washington), El dibujo en el Perú: arqueología de la realidad (Feria Estampa, Madrid), En tiempo presente (Espacio Odeón, Bogotá), What if democracy happens? (Galería 80m2, Lima) , Pleasure is more important than victory (Tasneem Gallery, Barcelona), Second Fair of Young Art Sala Cero (Animal Gallery, Chile) The Generation of Spectacle: Contemporary Peruvian Art (Kiosco Gallery, Santa Cruz, Bolivia). As well as in the international fairs Arco Madrid, Pinta London, Swab Barcelona, Scope Miami, ArtBo, ArteBa among others. His work has been published in "Amazonistas" (Editor: Cristian Bendayán, Bufeo Amazonía), Colección Encuentros Cercanos: "El Porvenir es el pasado que viene", Libro de artista (Editors: Miguel López, Nancy la Rosa, Juan Salas); Art Nexus, Nro. 92 "The invisible is a place" (Miguel López), "What if democracy happens?" (Editors: Miguel López and Eliana Otta) , "Pleasure is more important than victory" (Miguel López and Sharon Lerner) among others. She is Director of Context, Publisher of Artist Books and has also participated as Researcher of the Curatorial Team of the Place

My work explores the different ways of relating to places and landscapes, due to changes that occur in nature by socio-environmental conflicts, natural disasters and also by human action.
Many of my projects investigate the impact of facing the violent transformation of places and landscapes, due to changes that occur in nature by socio-environmental conflicts, natural disasters and also by human action.
The destruction of these spaces is part of a crisis, not only on a collective scale, but of the identity of each individual, since it breaks the sense of belonging, being, also, a silent form of violence in the deep dimension of the intimate.
It is in these conflicts, where the body of the woman has had a fundamental role, since it has been represented as a symbol of conquered territory
violence and its impact in both the collective and private spheres.

These works were inspired by my casual encounter with a Matsigenga – Spanish dictionary and from interviews with speakers of both languages. The Matsigenga are an indigenous people living in the Peruvian Amazon, who speak the Matsigenga language, one of the 48 native languages of Peru.
Every drawing represents a word in Machiguenga, which has no direct translation into Spanish. Each language is a reflection of a particular form of living in the world, and evidence of a spirit of community. For this reason, in all cultural exchange, and in the face of encounters among distinct languages, translation has a foundational importance. Paradoxically, it is in this space that one speaks as much of the necessity as of the impossibility of a dialogue, that must not be understood solely as a means to an end, or for its linguistic function, but rather as a cultural and political instrument; an act of communication in the frame of a given cultural context, and therefore, of a particular understanding
of what the other is.



Estos trabajos se inspiraron en mi encuentro casual con un diccionario Matsigenga - español y en entrevistas con hablantes de ambos idiomas. Los Matsigenga son un pueblo indígena que vive en la Amazonía peruana, que habla el idioma Matsigenga, uno de los 48 idiomas nativos del Perú.
Cada dibujo representa una palabra en machiguenga, que no tiene traducción directa al español. Cada idioma es un reflejo de una forma particular de vida en el mundo y evidencia de un espíritu de comunidad. Por ello, en todo intercambio cultural, y ante los encuentros entre distintos idiomas, la traducción tiene una importancia fundamental. Paradójicamente, es en este espacio donde se habla tanto de la necesidad como de la imposibilidad de un diálogo, que no debe entenderse únicamente como un medio para un fin, ni por su función lingüística, sino como un instrumento cultural y político. ; un acto de comunicación en el marco de un contexto cultural dado y, por tanto, de una comprensión particular de lo que es el otro.



Kamakagagantsi - To die together with one -Morir junto a uno mismo
Embossing and ink on paper - Gofrado y tinta sobre papel
70 x 110 cm
2015




Takovitagantsi- Not wanting to separate from someone for some reason - No querer separarse de alguien por algun motivo
Embossing and ink on paper - Gofrado y tinta sobre papel
70 x 90 cm
2015



Shigentiarínsi - The Brightness, the light or the flashes and movements in the eyes of a living person - El brillo, la luz o los reflejos y movimientos que hay en los ojos de una persona viva
Embossing and ink on paper - Gofrado sobre papel
76 x 110 cm
2015




Iragatsanoenkatagantsi Have a lump in your throat from sadness - Tener un nudo en la garganta por tristeza
Embossing and ink on paper - Gofrado sobre papel
76 x 55 cm
2015
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