City of eMé

For a while, Gustavo Eme’s work has chosen a kaleidoscopic view about cities’ content. Why did he do this? Maybe because in that carefully crafted formula, which equally divides and multiplies, the city of eMe, is rebuilt starting from a scheme none other than a desired order for all elements carelessly floating around on real life. Right there go shuttles v. MP3 players with mute sounds within, or the way that laptops and massified high tech v. colonial balconies, remind us of high and low graphic designs, new and old culture, in which a scheme of oppositions equals the referred pre-Hispanic textiles against pictorials, as with pixels and wall paper – a position which nevertheless is incisive in the kingdom of local representations.

As a historical tour of the city and through any Peruvian national theme, Eme doesn’t dodge social commentary, he affirms it but instills a roadmap of his own sensitivity and aesthetic selections. These surf comfortably among various art media, observing and emphasizing each other’s spaces, without screeching with irony about this confrontation. An option in which urban maps – and here everything is owed to the thought process previous to the perspective – are a provocative graphic summary without guilt for affirming some level of inevitable “costumbrismo”, modular and differently seen though. A spectacular view, it straightens up the same it bents, just like a playing card, the deck of a city that overflows its own games and the choppy tide of its unstoppable heterogeneity. 

Rodrigo Quijano

* The author plays with the equivalent of the artist’s last name: letter: “M”, making a Spanish reference to “S-O-S” (Same Old Shit).

Gallery view