Alzamora Valdez Building / Ministry of
Education — Enrique Seoane Ros (1951– 1956), 2025.
Stoneware, 64cm x 72cm x 30cm.
Series
This series presents a set of plates attributed to the
Italian naturalist Luigi Balzan, supposedly recovered
by Antónimo Supe. The drawings document construction
processes and architectural systems of various pre-
Columbian cultures in the Lima valleys. Through general
views, enlarged details, and hypothetical
reconstructions, the plates combine the language of
19th-century scientific illustration with contemporary
research into archives, representation, and memory.
DR. BALZAN’S 1892 PLATES DISCOVERED BY ANTÓNIMO SUPE
This series presents a set of plates attributed to the Italian naturalist Luigi Balzan, supposedly recovered by Antónimo Supe. The drawings document construction processes and architectural systems of various pre-Columbian cultures in the Lima valleys. Through general views, enlarged details, an hypothetical reconstructions, the plates combine the language of 19th-century scientific illustration with contemporary research into archives, representation, and memory.Series of 13 drawings
Ink on paper, 42 × 29.7 cm each
ProyectoAMIL, Ardez, Switzerland, 2026.
UNTITLED #1
Presented as part of Mala Imagen – Festival de Fotografía del Biobío, this photographic series explores the relationship between perception, materiality and memory. Made in the Swiss Engadin, the images approach the camera not as a transparent instrument of representation, but as a perceptual system with its own way of constructing the visible. At the same time, they focus on objects and surfaces whose textures bear traces of use, erosion, weather and transformation.The series emerges from the encounter between these two forms of recording: the camera, which translates the visible according to its own perceptual logic, and matter itself, which accumulates and transforms the traces of time.Photographic series,
Mala Imagen – Festival de Fotografía del Biobío, Concepción, Chile, 2026.
LAZZARETTO: ANTÓNIMO SUPE AT BALZAN’S STUDIO
Developed through a collaboration between Grupo Lurín and In Ruins, Lazzaretto brings together drawings, photographs, ceramics and found materials to explore the relationship between architecture, microorganisms and the preservation of ruins. Through a speculative return to the unfinished archive of Dr. Balzán, Antónimo Supe approaches the archaeological site as a place continually transformed by visible and invisible agents. The installation considers how practices of cleaning, classification and conservation shape what survives, what is removed and how the past becomes legible.Mixed-media installation
Research Office, Venosa Archaeological Park, Basilicata, Italy, 2026
Developed during the In Ruins residency
In-ruins Residency 2026. Courtesy of the Author and Archeofuturo APS. Ph. Daniele Notaristefano
Miraflores Bathing Complex / Costa Verde — Héctor Velarde, 1934–1935
Stoneware
28cm x 150cm x 34cm
2026
Stoneware
22cm x 53cm x 38cm
2025
Ostolaza Building — Enrique Seoane Ros, 1951–1953
Stoneware
36cm x 70cm x 50cm
2026
Stoneware
63cm x 24cm x 24cm
2026
Stoneware
44cm x 16cm x 24 cm
2025
Stoneware
50cm x 38cm x 48 cm
2026
Stoneware
30x23x15cm
2025
Stoneware
55x27x33cm
2025
Seoane Ros, 1954–1956
Stoneware
2025
Aramburú Menchaca, 1962
Stoneware
2026
Stoneware
64cm x 72cm x 30cm
2025
OBRA MODERNA BY ANTÓNIMO SUPE
OBRA MODERNA is a series of ceramic sculptures depicting modern buildings constructed in Lima between the 1930s and 1980s. Attributed to the fictional artist Antónimo Supe, the works transform some of the city‘s most emblematic expressions of architectural modernity into fragile objects that appear somewhere between monuments, models, and archaeological remains.The series is built around a material contradiction. Modern architecture presented itself through ideas of monumentality, permanence, progress, and the construction of a new future. Here, however, its buildings are reconstructed in ceramic: an ancient, brittle material whose surfaces crack, erode, and bear the traces of their own making. Their architectural solidity becomes precarious. This tension between the monumentality of the structures and the fragility of their material condition reflects the precariousness of the very idea of modernity developed in Peru.Rather than treating the ruin simply as the final state of a once-successful project, Modern Work understands it as something already latent within the modern project itself. The buildings appear as remnants of a future that was imagined but never fully materialized: architectures progressively detached from the social, political, and urban purposes that once justified their existence. To become a ruin is, in this sense, not only to deteriorate, but to become dispossessed of one‘s original purpose.Emerging as if excavated from the desert landscape of the Peruvian coast, these ceramic buildings collapse the distinction between modern architecture and archaeological artifact. The modern is observed from an imagined future in which its promises have already become history. Through this displacement, the series approaches Peruvian modernity as a fiction: a project conceived through the promise of progress, but whose encounter with reality reveals the fragility—and perhaps the impossibility—of that promise.
LUCAS C. PÁSARA
Artist and Writer
lcpasara@gmail.com
Lucas C. Pásara (Lima, Peru, 1997) is an artist and writer whose practice brings together sculpture, ceramics, drawing, fiction, and archival research. His work explores archaeology, architecture, and the promises and failures of modernity in Peru, examining how cultural histories are constructed, preserved, and forgotten.
Through Grupo Lurín, a fictional art and research collective he founded, he develops interconnected projects attributed to different authors and characters. Working between documentary testimony and invention, he approaches the archive as an artistic medium.
He studied Humanities at the Pontifical Catholic University of Peru and World and Comparative Literature at the Complutense University of Madrid. He is the author of the short story collection Impresiones (2022) and is developing an experimental novel based on the modern art collection of the Lima Art Museum (MALI).
EDUCATION
Pontificia Universidad Católica del Perú
BA in Humanities, Latin American Studies
Universidad Complutense de Madrid
Visiting Student, World and Comparative Literature
2022–2023.
ANTÓNIMO SUPE
Artist and Researcher
antonimosupe@gmail.com
Antónimo Supe (Lima, Perú, 2001) is an artist and researcher associated with Grupo Lurín. His work examines the architectural traces of Peruvian history, bringing pre-Columbian construction and modern urban projects into a shared field of inquiry.
In his series Obra Moderna, buildings constructed in Lima between 1930 and 1980 reappear as fragile ceramic ruins. These works approach modern architecture as archaeological evidence, tracing the distance between its promises and its material afterlives.
Supe is also credited with the recovery of a set of drawings attributed to the Italian naturalist Luigi Balzan, dated 1892. These plates document construction systems in the Lima valleys through architectural views, details, and hypothetical reconstructions. Across these projects, his practice moves between making objects and recovering documents, leaving the boundaries between discovery, reconstruction, and authorship unresolved.
EDUCATION
Universidad Nacional de Ingeniería (UNI), Lima, Peru
Studies in Architecture (degree not completed)
(upcoming)
OBRA MODERNA
Galería Livia Benavides
Lima, Peru
2027
Lazzaretto
Research Office, Venosa Archaeological Centre
Venosa, Basilicata, Italy
2026
Dr. Balzán’s 1892 Plates Discovered by Antónimo Supe
ProyectoAmil
Ardez, Switzerland
2026
Mala Imagen
Pinacoteca, Universidad de Concepción
Concepción, Chile
2026