At kilometre 31 of the old Panamericana highway, in the Lurín valley (Lima, Perú), the largest museum in Latin America has been built: the Museo Nacional del Perú (MUNA), which pursues the old republican desire to house Peru’s cultural heritage in one place. Three years after its opening (now 5), the MUNA stands largely silent, evincing the fragile cultural policies of the Peruvian State.

Katherinne Fiedler’s Guardians invites us to reflect on the ambitions and contradictions that

underlie the impressive architecture of the MUNA. In the three-channel video installation, shots are woven together as continuous assemblages, creating an immersive environment where images constantly reconfigure the architectural space, guiding us through endless corridors, deserted halls and imposing structures, revealing how the building both dominates and succumbs to the surrounding desert landscape.

The journey through this museum space made of concrete and sand—where there is no collection and no visitors—is set against the presence of its only spontaneous residents: the dogs. These animals, deeply rooted in pre-Columbian iconography and mythology, evoke an ancestral connection with humans while reinforcing the relationship between past and present. Shots of the dogs wandering through the empty spaces of the MUNA create a panoptic effect that accentuates ideas of protection and shelter. The dogs roam the museum as living metaphors of Peru’s cultural identity, still encrusted in an imaginary of objects and in the labour of archaeologists.

Guardianes explores the Peruvian desert as a space of promise and conflict, where the preservation of heritage, nature and demographic expansion collide.

José Carlos Mariátegui.

This work has been exhibited at MAC (Museo de Arte Contemporáneo) Lima in 2024, and at the Trienal de Arquitectura de Lisboa 2025.

Katherinne Fiedler lives and works between Lima, Madrid, and Paris. Her practice moves across sculpture, installation, and moving image. Landscape is approached as something produced rather than represented.

She works with ceramics, textiles, fossils, and shells, often in contact with industrial or synthetic matter. These materials are not separated into categories. They coexist within the same space and register different states of transformation.

Her work is built through processes of displacement and recomposition. Forms do not stabilize into fixed images. They remain in transition, holding traces of extraction and use. The distinction between nature and culture is not taken as given; it is put under pressure through each material decision.

She studied Fine Arts at the University of Barcelona.

Her work has been presented across Latin America and Europe, including at the MAAT for the 7th

Lisbon Architecture Triennale and at the Museo de Arte Contemporáneo de Lima (MAC), where she

presented Guardianes (curated by José Carlos Mariátegui). She has undertaken residencies at

Casa de Velázquez (Madrid), FLORA ars+natura (Bogotá), LARA Panamá, Utopiana (Switzerland),

Hawapi (Peru), and Bilbaoarte (Bilbao).

She received the BBVA Foundation Leonardo Grant for Creators and Researchers (2023), the CIFO Emerging Artist Award (2017), and the Europe Moves grant from the Goethe-Institut.

Recent solo exhibitions include Guardianes (MAC Lima), Lo inmenso y lo pequeño (Galería del Paseo, 2022), El futuro de la memoria (Galería del Paseo, 2019), and Ficción variable (La Galería, 2015). Group exhibitions include the 7th Lisbon Architecture Triennale (MAAT), Negar el desierto (MAC Lima, 2021), and No Black, No White (CIFO, Miami, 2017).

mueve (galería ) is a contemporary art project based in Lima that operates through a flexible structure combining a permanent nucleus with itinerant exhibitions across the city and other regions of Peru. Founded by Marianelli Neumann and Tadeo Bellatin Elmore, the gallery develops exhibitions, research initiatives, and collaborations that connect artists from Peru and Latin America with international curatorial and institutional

networks.

Rather than beginning from a fixed idea of what a gallery should be, mueve (galería ) understands itself as a project in movement. Its structure responds to a broader transformation within the contemporary art ecosystem, where traditional gallery models are increasingly being reconsidered. Within this context, the project seeks not to impose a predefined framework but to listen— to artists, curators, researchers, and audiences — and to ask what it means to open and sustain a contemporary art space today, particularly within the historical and geographical conditions of Peru.

This approach involves a continuous process of reflection: on what a gallery is or might become, on how artistic practices circulate and take form within different contexts, and on what contemporary art can signify within a country marked by diverse cultural traditions, uneven institutional structures, and complex historical narratives.

The gallery works with emerging and mid-career artists whose practices engage critically with the social, historical, and ecological conditions of the present. Particular attention is given to positions that expand established narratives of Latin American art, including practices shaped by Amazonian cosmologies, vernacular knowledge systems, and material experimentation. Through exhibitions, publications, and research projects, mueve seeks to situate these practices within broader international conversations.