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Synopsis

This is Luis Antonio Meza’s review of Mimuy, the installation created by Mario Acha, Miguel Malatesta, and Efraín Montero. The journalist and musician quotes the critic Juan Acha to explain the nature of an installation. Referring to the title of the exhibition, he says it is “an odd word that smells like shellfish and means nothing; it is not even a random name, it was simply ‘designed.’” He also criticizes the “excessive order” and “certain naivety” of the installation, noting the “official” nature of the project at the IAC (Instituto de Arte Contemporáneo), an important gallery in Lima. He mentions the impasse created when a protest was lodged by the Bolivian sculptress Marina Núñez del Prado, who had an exhibition of her own in the room next door. Meza describes the exhibitions as avant-garde, saying they remind him of his own involvement in similar projects. He denies that the public’s negative reaction to Mimuy is based on a lack of originality. He notes that the one-man shows of works by Luis Arias Vera and Gloria Gómez Sánchez will also be opening in the next few days.

Annotations

Mimuy, the first installation ever presented in Peru, opened in the basement of the IAC (Instituto de Arte Contemporáneo) in Lima on November 3, 1965. It was created by three young students at the Universidad Nacional de Ingeniería: Mario Acha (the son of the critic, Juan Acha), Miguel Malatesta, and Efraín Montero. The project consisted of filling one of the most prestigious gallery spaces in the city with art made of recycled objects. The first problem flared up before it even opened, when the Bolivian sculptress Marina Núñez del Prado (whose work was on display in the adjoining room) accused Mimuy of being pornographic. The three young artists had to make some last-minute changes to their installation before it could open to the public. Mimuy was favorably reviewed by some critics, including Juan Acha (1916–95) and Carlos Rodríguez Saavedra. Luis Antonio Meza (1931–2014) was an important composer who was also a cultural journalist; he wrote a column in the Lima newspaper El Comercio, one of the most influential papers in Peru.

 

[For additional information, see the following articles in the ICAA digital archive: by Carlota Carvallo de Núñez “Notas de arte” (doc. no. 1142429); by Juan Acha “Próximas exposiciones: ‘Ambientaciones’ y Muñecones” (doc. no. 1142445), “La “ambientación’ del I.A.C.” (doc. no. 1142493), and “Exagerado sentido realista: Exposición de Luis Arias Vera” (doc. no. 1142510); and by Carlos Rodríguez S. “Mimuy” (doc. no. 1142462)].

Researcher
Daniel Contreras Medina
Team
Museo de Arte de Lima, Lima, Peru
Credit
Courtesy of Luis Antonio Meza Casas, Lima, Peru