Marica Formal is an exploration platform that promotes lgtbi+ culture in Peru and latin speaking countires....

That is why each of our prints is dedicated to promoting by sharing an artist who represents queer values and ideologies.

Each of the three prints in the series is handmade with silkscreen printing on 100 grams Don Bosco handmade paper, measuring 55 x 38 cm and each is an edition of 20. All are hand-signed by the artist, Rafael Escardó, on the front of the paper. They were produced in the Made In Perú workshop of Alfredo Márquez.

  • Serigrafía, Edición de 20

    Broca Lee

  • Serigrafia, Edición de 20

    Taco Giuseppe

  • Serigrafia, Edición de 20

    Bulto Tom

Giuseppe Campuzano

Giuseppe Campuzano was a researcher, activist, and drag queen. In 2004, he created the Travesti Museum of Peru, a counter-narrative proposal that is queer, mestizo, mobile, and hybrid around the official history of Peru. This project was presented in contemporary art museums in cities such as Sao Paulo, Santiago de Chile, Barcelona, and Madrid, and also intervened in universities in Lima, Brighton, Rio de Janeiro, Bogotá, Mexico City, and Quito, as well as in the streets. In 2013, he received recognition in Lima for his activism for LGBTQ+ Human Rights and also a grant from the Foundation for Arts Initiatives. He passed away in Lima in 2013. (Source: MALI Museum)

La Virgen de las Guacas (2007), Giuseppe Campuzano

Giuseppe Campuzano por Alejandro Gómez de Tuddo, La virgen de las guacas, 2007. Impresión cromogénica, 70 x 194 cm. Colección del artista, Roma.

In 2013, Giuseppe Campuzano: Saturday Night Thriller and Other Writings, 1998-2013 was published, a book that compiles fifteen years of writings by the philosopher and transgender activist Giuseppe Campuzano (Lima, 1969-2013). "Giuseppe Campuzano: Saturday Night Thriller and Other Writings, 1998-2013" was edited by Miguel A. López, designed by Chana Rodríguez, and published by Estruendomudo in Lima in an edition of 1000 copies.

Free PDF download is available here.

Giuseppe Campuzano. Saturday Night Thriller y otros escritos, 1998-2013.

Museo Nacional Centro de Arte Reina Sofía Collection: Salon de Belleza (Beauty Salon) 2014, Giuseppe Campuzano, Miguel Angel Lopez

Lee Lozano

The painting of the American Lee Lozano is admired for its energy, tenacious physicality, and tireless exploration of body and gender. With the intention of penetrating the New York painting scene and its male dominance, critics like Lucy Lippard recognize her as the most prominent conceptual woman painter of the 1960s.

A radical individualist, a fierce feminist, always in her own way, between '62 and '64, Lozano produced one of her most well-known series: Tools. Mastering a visual language of object/gender representations, the series consists of paintings of essentially male tools in apparent movement and virility, which in some cases ironically become impotent or flaccid; and in other cases, stylized and sophisticated. These are works that, while they go along with the feminist wave of the time, begin to give us an understanding of Lozano's thinking style; agilely conceptual and very precise in tracing the lines of social norms. Curiously and particularly, always using reverse psychologies, allowing for an ambiguous level of interpretation regarding the hierarchy of her position. A changing back and forth where you will have to decipher again in each case whether she is in the shoes of a man, painting what a man would paint, or vice versa in both cases.

Hollis Frampton, Lee Lozano, 1963, silver print, 20.3 x 25.4 cm, © Collección Albright-Knox Art Gallery, © Hollis Frampton

Lee Lozano, No title (ass kisser), n.d. Collección Privada cortesía de Hauser & Wirth Collection Services © The Estate of Lee Lozano

In addition to her 2D practice, Lozano made public a series of notebooks where she dedicated herself to keeping a specific record of experiments with instructions, explanations, and results in diary format. It is through these that we understand the intense relationship she has with language and that her practice exists in the performative dimension. Experiments such as Dialogue Piece (since 1969), where she invited someone to her house to converse but would not see them without the specific invitation. In this way, she presented General Strike Piece (1969), a piece where she announced a strike on all art scene events and museums, protesting explicitly that to achieve a revolution in the art world, a much larger revolution encompassing the world of science, politics, education, drugs, and sex would be necessary simultaneously. Lastly, potentially her most extreme piece was Decide to Boycott Women (1971). A piece where consciously and explicitly Lee silenced women, a gesture where, continuing with her reverse psychology dance, she directly challenged the patriarchal structure. In 1972, Lee left New York in search of an ideological refuge and never presented art again. Lee Lozano continued General Strike Piece (1969) and Decide to Boycott Women (1971) for 30 years until the day of her death. Art critic and friend of Lee, Lucy Lippard, comments that she could never speak with her again and describes with admiration and respect how Lee and her practice ended up being art in the form of life.

as

Lee Lozano, No title, ca. 1964, installation view, at Pinacoteca Agnelli Torino. PHOTO SEBASTIANO PELLION DI PERSANO/©THE ESTATE OF LEE LOZANO/COURTESY HAUSER & WIRTH

General Strike Piece by Lee Lozano 1969 Feminism New York Performance Art Scene

General Strike Piece (1969), Lee Lozano. (Wadsworth Atheneum Museum of Art, Hartford, Connecticut).

Lee Lozano Kasper Konig 1969 Notes performance art New York

Untitled (private notes) (1969), Lee Lozano. Hauser & Wirth Collection Services © The Estate of Lee Lozano

Untitled (1962), Lee Lozano

Tom Of Finland

Tom of Finland, born Touko Laaksonen, stands as an iconic figure in queer history, celebrated for his revolutionary contributions to LGBTQ+ culture. Through his drawings of hyper-masculine, muscular men, Tom of Finland played a pivotal role in shaping and affirming the queer identity, particularly within the gay community. His artwork, which emerged during a time when homosexuality was widely stigmatized and criminalized, served as a powerful form of resistance and liberation.

His depictions of confident, assertive gay men defied prevailing stereotypes that portrayed queer individuals as weak or effeminate. Instead, his characters exuded strength, pride, and unabashed sexuality, challenging societal norms and empowering LGBTQ+ people to embrace their desires and identities. By presenting a bold and unapologetic celebration of homoeroticism, Tom of Finland's art fostered a sense of community and belonging among queer individuals, offering a visual language through which they could express and affirm their sexuality.

Moreover, Tom of Finland's impact extends beyond the realm of art, influencing broader cultural perceptions of LGBTQ+ individuals and paving the way for greater visibility and acceptance. His bold imagery challenged prevailing notions of masculinity and sexuality, helping to dismantle harmful stereotypes and expand societal understandings of gender and desire. Through his art, Tom of Finland not only celebrated queer desire but also asserted the inherent dignity and humanity of LGBTQ+ people, contributing to a broader movement for equality and social justice.

TOM OF FINLAND (Touko Laaksonen, Finnish, 1920 – 1991), Untitled, 1963, Graphite on paper © 1963-2020 Tom of Finland Foundation