Abstract

Abstract:Christian Bendayán (Iquitos, Peru 1973 -) is one of a cadre of visual artists from Iquitos, Peru that has cultivated an Amazonian pop aesthetic over the last decade. Bendayán creates an alternative, counter-dominant viewpoint to seemingly intractable archival versions of the Amazon and its peoples. The place, its habitants, and its flora and fauna have been documented in published texts and drawings by sixteenth-century missionaries, eighteenth-century botanists, nineteenth-century rubber barons, and countless adventurers. I argue that Bendayán queers some of these archival documents through his incorporation of gender non-conforming and homoerotic figures into his depiction of Iquitos. Additionally, he reconfigures images and texts from previous eras via his transformation of historical facts into open-ended narratives that reflect a queer temporality that toggles back and forth between the past, the present and the future. Through his transformation of archival materials, and his incorporation of local myths and pop culture, he presents physical desire not as a means to procreation, but as an end in and of itself. In sum, through his paintings, Bendayán perceives from and with Iquitos. He turns his city into a distinct viewpoint instead of a fantastical destination for the projections of outsiders.