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Kutina Chaka

Nicola Torriti Zolezzi | Peru

This path comes from Ayacucho down the way to the Pampas river and then to Andahuaylas. Is was made with the walk of people through it. It is also a route to go to sell their products in the markets and its also a route for supplies for local drug camps.

Kutina chaka is political landscape. The immense is tied to the exodus of families of Ayacucho (southern Peruvian Andes) who in the 90s fled from the violence of state’s army and the terrorist party Sendero Luminoso towards Andahuaylas.

Kutina Chaka in quechua means the return bridge. People escaped crossing the Pampas river bridge. In reprisal, the bridge was destroyed. In 1996 people began their return by rebuilding it.

Each year between august the 20th and 28t, people from Ayacucho and Andahuaylas gathers in this plateau between the two provinces over the Pampas river.

Dark, shadowy images suggest remembrance. The presence of land suggests the weight of a quiet scenario of the introspective. Peoples presence activates nature and are a testimony that once a year turns this place of passage into a place of memory. Presences in a country of oblivion.

My name is Nicola, I’m Peruvian. I’ve worked as a journalist and then taught cultural studies at the National School of Arts in Lima (Perú). Public education and photography are the most professionally regarding experiences I ever had. I’m now living in Madrid. 

In 2018 I’ve received education in creative industries for the startup project “Captura Madrid” at Factoría Cultural. It’s about historic and visual workshops and tours through four antique parks of Madrid going together with the tourist in his/her path to create an intimate narrative of the trip. 

In 2014 I have had my first photo exhibition, Muerte en multitud. A documentary work on Virgen de Lourdes cemetery, one of the most popular in Lima. 

This experience gave me my two first job as photographer. Entitled “Río Arriba” it was made in Huancavelicas’ watersheds in the southern Peruvian Andes. It portraits the context of use and administration of farmers access to water. It was exhibited in Lima and Ayacucho (southern Andes).

This project led me in 2016 to Madrid’s base photography school EFTI. It was the first time I’ve studied photo.

The second job, Kutina Chaka, is about political memory in the years of terrorism in Perú. I’ve assumed it as a personal work. The project in all its meanings is a challenge for me.

I’m now exploring my language. I want to make my narrative much more suggestive by stimulating viewers’ imagination in the mutual creation of sense with little amounts of information, emotions and insinuations.

In 2015: Diakonia and Cooperacción. 

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