Armando Andrade Tudela has developed, over a ten-year period, a visual universe permeated by notions of interpretation, displacement, and overlapping timescales, drawing on wide-ranging references from art history, architecture, design, music, and sociology.

His thinking foregrounds movement in time, decoding the different historical strata of sites, and looking at the ideological stakes conveyed by cultural objects. For instance in UNSCH/Pikimachay (2013) the artist filmed the Universidad Nacional San Cristobal de Huamanga (UNSCH), where the radical Peruvian party Shining Path originated, he proposes the modernist architecture as a base for sedimentation—to which he adds a representation of Pikimachay, a cavern in the Ayacucho Valley in the Andes, the first known habitation in Peru but also a hiding place used by the terrorist group, raising the background question of the hold of sites on the formation of communities and utopias. Here, as in the whole of his work, the memory of spaces and objects invoked refers to the idea of a past but a past that always comes out of a present, and he ‘reveals the gap between what happened (history) and what did not happen (longing, illusion).’