Tomorrow was Now: Two Decades of Video and Electronic Art in Peru (1995–2015). Artists Statement


Presentation Title:

  • Tomorrow was Now: Two Decades of Video and Electronic Art in Peru (1995–2015). Artists Statement




  • Alta Tecnología Andina (ATA) is pleased to announce the publication of The Future Was Now. 21 Years of Video Art and Electronic art in Peru, a compilation of essays on the past two decades of Peruvian video and electronic art, edited by Max Hernández-Calvo, José-Carlos Mariátegui and Jorge Villacorta. This bilingual edition in English and Spanish gathers a number of essays and reflections on video art in Peru during the first two decades of the 21st century, and the general impact of new media art on the cultural landscape, as well its connections with other disciplines, and with other regional and international initiatives. The overview that this important research effort presents, examines the rich and complex trajectory of the development of recent video and electronic art in Peru, from its experimental and precarious beginnings to its current relevance in the local contemporary art scene, through strong gallery and museum representation, and fluid distribution networks.

    In this history, as examined by the book’s essays, the emergence of the seminal Video and electronic art festivals in Peru is a key moment in the establishment of a local video-arts community, which attracted artists from diverse backgrounds and training. By charting the early years of the festivals, The Future Was Now highlights the aesthetic contributions of a number of artists who, for many years cultish yet obscure figures. But the book also acknowledges the vital role played by the various projects and organizations that shaped the new media landscape in Peru through their multiple efforts. In that regard, as the title suggests, that “aesthetic future” that was sought during the last decade of the 20th century, did indeed happen through the combined efforts of many actors of the time, even if unacknowledged at the time.

    Other issues the book engages are the launching of video art competitions, regional initiatives focused on the medium, as well as the development of specific practices and languages, such as digital cinema, animation, video installation and video performance.