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Elena Damiani
Lima, Peru
Born in 1979, Lima. She studied Architecture at the Universidad Peruana de Ciencias Aplicadas and subsequently transferred to the Escuela Superior de Bellas Artes Corriente Alterna where she graduated in Fine Arts in 2005. In 2010 she received her Masters in Fine Arts at Goldsmiths College, University of London. Her work has been exhibited at the Dhaka Art Summit (2020), DePaul Art Museum (2020), MOCO Montpellier Contemporain (2020), Museu Coleção Berardo, Lisboa (2019), la Galleria Nazionale d’Arte Moderna, Roma (2019); Skissernas Museum (Lund, 2017); Chrysler Museum of Art, (Virginia; 2017), Gwangju Biennale (2016), Bienal de Cuenca (2016), IV Poly/Graphic Triennial San Juan (2015), Vienna Biennale (2015), Venice Biennale (2015), Museo Amparo (Puebla, 2016); MUAC Museo Universitario Arte Contemporaneo (Mexico City, 2015); Garage Museum of Contemporary Art (Moscow, 2015), MOCAD Museum of Contemporary Art Detroit (Detroit, 2015); Americas Society (New York, 2014), BIM Bienal de la Imagen y Movimiento (Buenos Aires, 2014), Mercosul Biennial (Porto Alegre, 2013), Museo Tamayo (Mexico City, 2013), MAC Museo de Arte Contemporaneo (Lima, 2013), Government Art Collection (London, 2012), Museo de Bellas Artes de Valencia (2009), MAMBA Museo de Arte Moderno de Buenos Aires (2007), IVAM Instituto Valenciano de Arte Moderno (Valencia, 2007), Kunstmuseum (Bonn, 2006). She was awarded the Grants & Commissions Program Cisneros Fontanals Art Foundation CIFO (2016), the Commission for a permanent site-specific installation at the Americas Society’s David Rockefeller Atrium in New York (2014), the Special Mention to Video Creation at the International Festival of Digital Arts and Cultures of Gran Canaria (2006), 2nd Prize at the French-Peruvian Contest for Visual Arts Pasaporte para un Artista (2006), the Gold and Silver at the Escuela Superior de Bellas Artes Corriente Alterna (2005), the Production Prize in the 2nd Peruvian Contest Video and Electronic Arts (2004). Work by the artist is included in international collections, including the MoMA The Museum of Modern Art, MALI Museo de Arte de Lima, GNAM Galleria Nazionale d’Arte Moderna, Thyssen-Bornemisza Art Contemporary Collection, Colección Patricia Phelps de Cisneros, Museo Tamayo, Kadist Art Foundation, Cisneros Fontanals Art Foundation, Kamel Lazaar Foundation, Schoepflin Foundation, and FOLA Fototeca Latinoamericana. She currently lives and works in Lima.
  Critical concerns regarding the understanding of the present by looking into the past and the potential of images to resonate and prompt a universe of associations in collective memory have funnelled Damiani’s practice by transforming found material into collages, sculptures, video and installations. Her work draws on Geology, Archaeology and Cartography as subjects to explore fragmentation and reinterpretation of documented material rationalized by the sciences studying the composition, evolution and history of the Earth. Through a variety of means she reinterprets natural stages and their generative processes, presenting them as incomplete and ambiguous spaces where multiple times and topographies merge.