Juan Javier Salazar

A couple and a melancholic woman in a Chinese restaurant ask for the menu, while a strange connection of glances occurs between the waiter and the woman.

Record made by Juan Javier Salazar as part of the Ritual Solutions exhibition.

Record of the performance in which Juan Javier Salazar covers the statue of the conqueror Francisco Pizarro in the Plaza de Armas of Lima with a fabric printed with the image of an Inca wall.

“This is an official country of battles, officials, monuments, parades; a country that functions throughout the years, the centuries, and on the other hand, a country that functions day by day. It’s the story of a taxi driver who goes out in Lima in the morning thinking: “Today, how the hell will it end up?” and he does it every day. The guy wakes up in the morning and while he shaves, looking at himself in the mirror, he talks to God and asks him for a couple of fares to the airport; God grants him the fares and everything falls into place in a ritualistic way. I mean, the man eats, gets drunk, vomits, makes love, fills the car with flowers, they paint the car white…”*

A couple argues in the early hours of the morning. Furious, she throws pieces of art at him and kicks him out of the house. The man ends up in the middle of the street without documents or money. A reflection on the art market and the anchovy fishing policies in Peru.

A photograph of artist Juan Javier Salazar selling small cushions shaped like the map of Peru, made from fabric that imitates jaguar skin. The artist sells his product as art on buses, persuading passengers with eloquent, ironic ideas about the economy, society, and various reflections on the country's situation.

A couple and a melancholic woman in a Chinese restaurant ask for the menu, while a strange connection of glances occurs between the waiter and the woman.

Record made by Juan Javier Salazar as part of the Ritual Solutions exhibition.

Record of the performance in which Juan Javier Salazar covers the statue of the conqueror Francisco Pizarro in the Plaza de Armas of Lima with a fabric printed with the image of an Inca wall.

“This is an official country of battles, officials, monuments, parades; a country that functions throughout the years, the centuries, and on the other hand, a country that functions day by day. It’s the story of a taxi driver who goes out in Lima in the morning thinking: “Today, how the hell will it end up?” and he does it every day. The guy wakes up in the morning and while he shaves, looking at himself in the mirror, he talks to God and asks him for a couple of fares to the airport; God grants him the fares and everything falls into place in a ritualistic way. I mean, the man eats, gets drunk, vomits, makes love, fills the car with flowers, they paint the car white…”*

A couple argues in the early hours of the morning. Furious, she throws pieces of art at him and kicks him out of the house. The man ends up in the middle of the street without documents or money. A reflection on the art market and the anchovy fishing policies in Peru.

A photograph of artist Juan Javier Salazar selling small cushions shaped like the map of Peru, made from fabric that imitates jaguar skin. The artist sells his product as art on buses, persuading passengers with eloquent, ironic ideas about the economy, society, and various reflections on the country's situation.

A boy walks down the street with two beers under each arm, muttering to himself that he hates his father and lamenting his situation. Angrily, he kicks a rock that shatters a window, and the resulting noise erupts into gunfire. Abimael wakes up next to Elena Iparraguirre.

June 24, 2001. Juan Javier Salazar covers the statue of Pizarro with a printed cloth from the Inca wall. A few years later the monument disappears from the Plaza Mayor.

A couple gets into a fight in the early hours of the morning. Furious, she throws pieces of art at him, and the man ends up in the middle of the street. The film's director reflects on the art world. There's a parallel between the anchovy market in Peru and the art market. In a behind-the-scenes clip, the director challenges someone to drink liquor from a woman's stiletto heel.

Documentary of the actions of the artistic group E.P.S. Huayco in the early 1980s. It presents the activities and opinions that accompanied the projects Arte al paso, Sarita Colonia and Survey of aesthetic preferences of an urban public.