Installation view "Essays on the solid", MAC, Lima, Peru 2022
Courtesy of Museo de Arte Contemporáneo de Lima MAC, Lima. Photo: Juan Pablo Murrugarra

Elena Damiani

Elena Damiani was born in 1979 in Lima, where she lives and works.

Damiani has participated in multiple international biennales, including the Seoul Mediacity Biennale (2023), Cuenca Biennale (2018, 2016), Gwangju Biennale (2016), the Venice Biennale, Vienna Biennale and IV Poly/Graphic San Juan Triennial (both 2015) and Bienal de la Imagen y Movimiento, Buenos Aires (2014). Solo exhibitions include Revolver Galeria, New York, USA (2023), Americas Society New York (permanent installation, 2022), Museo de Arte de Contemporáneo, Lima (2022), Chrysler Museum of Art, Norfolk (2017), Museo Amparo, Puebla (2016), Museo Universitario Arte Contemporáneo, Mexico City (2015). She has participated in group exhibitions at Museum of Modern Art, New York, Museo De Arte Contemporáneo De Monterrey, Monterrey, Mexico, The Museo de Arte Contemporáneo de Oaxaca, Mexico, and Heide Museum of Modern Art, Melbourne (all 2023), Museo de Arte Zapopan, Guadalajara (2022), PIVO, São Paulo (2022), The Isabel and Agustín Coppel Collection, Mexico City (2020), DePaul Art Museum, Chicago (2020), Galleria Nazionale d’Arte Moderna, Rome (2019), Museum of Contemporary Art Cleveland, Ohio (2018), Garage Museum of Contemporary Art, Moscow (2015), Museum of Contemporary Art, Detroit (2015), Museo Tamayo Arte Contemporáneo, Mexico City (2013), Museo de Arte Moderno de Buenos Aires (2007), IVAM Instituto Valenciano de Arte Moderno (2007), and Kunstmuseum Bonn (2006) among others.

She was awarded the Grants & Commissions Program, CIFO Cisneros Fontanals Art Foundation, Miami (2016) and the commission for the David Rockefeller Atrium, Americas Society, New York (2014).

Her works can be found in public collections including MoMA, New York; Museo de Arte de Lima; Galleria Nazionale d’Arte Moderna, Rome; Thyssen-Bornemisza Art Contemporary Collection, Madrid; Perez Art Museum, Miami; Patricia Phelps de Cisneros Collection, New York and Caracas; Museo Tamayo Arte Contemporáneo, Mexico City; Kadist Art Foundation San Francisco and Paris; Fototeca Latinoamericana; and Cisneros Fontanals Art Foundation, Miami.

Elena Damiani in conversation with Georgia Perkins (Lecturer and Tutor at Winchester School of Art, Doctoral Candidate at Goldsmiths, University of London) on the occasion of Damiani's solo exhibition 'Tellurian Surfaces and Core Fragments' at Galerie Nordenhake Berlin, November 17, 2023

Installation view, 'Tellurian Surfaces and Core Fragments', Galerie Nordenhake Berlin, 2023

Installation view, 'Tellurian Surfaces and Core Fragments', Galerie Nordenhake Berlin, 2023

Installation view, 'Tellurian Surfaces and Core Fragments', Galerie Nordenhake Berlin, 2023

Installation view "Essays on the solid", MAC, Lima, Peru 2022
Courtesy of Museo de Arte Contemporáneo de Lima MAC, Lima. Photo: Juan Pablo Murrugarra

Installation view "Essays on the solid", MAC, Lima, Peru 2022
Courtesy of Museo de Arte Contemporáneo de Lima MAC, Lima. Photo: Juan Pablo Murrugarra

The Erratic Marbles IV, 2022, series of 36 collages, inkjet print on cotton paper, inkjet print on alpha-cellulose paper, 486 x 147 x 3.5 cm

Wedges, 2022, hand-carved and polished Cassata travertin and ammonites
Courtesy of Museo de Arte Contemporáneo de Lima MAC, Lima. Photo: Juan Pablo Murrugarra

As the dust unsettles VII, 20222, watercolour on handmade Lokta paper, on canvas, 136 x 106 cm

As the dust unsettles VIII, 2022, watercolour on handmade Lokta paper, on canvas, 136 x 106 cm

As the dust unsettles VI, 2021, watercolour on handmade Lokta paper, 157 x 105 cm

As the dust unsettles V, 2021, watercolour on handmade Lokta paper, 157 x 105 cm

Fading Field N14, 2020, digital print on silk chiffon wood structure black matte paint on wall, 203 x 130 x 50 cm

Fading field N15, 2020, digital print on silk chiffon wood structure, black matte paint on wall, 190 x 132.7 x 40 cm

Ventifacts V, 2019, hand carved and polished Piano travertine, dimensions variable, 30 x 30 x 50 cm approximately each

Ventifacts V, 2019, detail

Transits and Occulations I, 2019, black Monterrey marble and white Mexican stone and brass, 21 x 16 x 120 cm

Samples 1-8, 2016, series of 8 digital prints, 86 x 120 cm each

Samples 1-8, 2016, detail

Dust tail, 2016, Digital print on silk chiffon, steel, overall dimensions installed 160 x 220 x 81 cm

Brighter than the moon, 2016, single channel video projection with sound

Installation view "Elena Damiani – All the World’s Futures", 56 Venice Biennale, Venice 2015

N.1-N.6, 2016, series of 6 pencil drawings on cotton paper, each 35.5 x 51 cm, framed 37 x 52.5 cm

N.6, 2016, pencil drawing on cotton paper, 35.5 x 51 cm, framed 37 x 52.5 cm, detail

Rude Rocks N7, 2016, hand-carved and polished travertine, resin, onyx, copper, stainless steel, steel base, 116 x 130 x 65 cm

Rude Rocks N7, 2016, detail

Prominences, 2016, digital prints on silk chiffon, stainless steel, black mat paint on wall, series of 6 prints, each 67 x 61 cm

Installation view "Elena Damiani – Sediments: An Assemblage of Remains", MUAC, Mexico City 2015

Installation view "Elena Damiani – Sediments: An Assemblage of Remains", MUAC, Mexico City 2015

Lost time, 2015, hand-carved and polished travertine, onyx, resin, steel, 297 x 200 x 8.5 cm

Lost time, 2015, detail