Ricardo Yui is a Peruvian-born Visual Artist and Filmmaker living and working between Lima (PE) and Amsterdam (NL). He studied at Centro de la Imagen (PE/2004),
and École Nationale Supérieure de la Photographie d’Arles ENSP (FR/2013) from which Ricardo holds the Master of Arts degree.
His work has been presented by institutions such as Itaú Cultural, Musée du Quai Branly, CentroCentro, ICPNA, Instituto Cervantes NYC and Casa de América ; as well as shown in exhibitions, film screenings and art festivals in Lima, São Paulo, Buenos Aires, New York, Seoul, Guatemala City, Lishui, Jerusalem, Amsterdam, Madrid, Landskrona, Berlin, Arles and Paris.
After eleven years of intensive photographic work, in 2014, Ricardo turned the whole of his practice towards the moving image ; producing, writing and directing five short films: Entropía Limeña (2014), Continuidad (2017), Orthodoxie et Orthopraxie (2018), It Never Pours but It Rains (2019) and Das Neue Athen (2020).
Ricardo's work has been shortlisted in art prizes such as LE BAL Jeunes Talents (FR/2012), the 6th Photobook Award of the RM Editions (ES-MX/2016), and two editions of the ICPNA Contemporary Art Prize (PE/2018-2020). His film Continuidad won the Short Films Award by the Peruvian Film Fund (DAFO) in 2018 and, more recently, his current film project has been invited to the 8th International Script Lab LabGuion Medellín (CO/2020).
Ricardo’s projects and films have been co-produced and supported by institutions such as: Institut Français (FR/2008), CulturesFrance (FR/2008), CentroCentro (ES/2014), DAFO (PE/2018), and the Amsterdams Fonds voor de Kunst AFK (NL/2017). This last one made possible that the Dutch film-artist Aernout Mik advises Ricardo as a Mentor for two years.
Nowadays, Ricardo develops his first feature film, Devenir.
During the decline of the West, the Mother Culture lost the control of its own destiny. Yorgos is a Greek homeless man stuck in a monotone life, when a trip to the old ruins wakes him up.
After finding some pieces of the broken Europe on his way back, he set the fire to offer a second chance.
Das Neue Athen (The New Athens) is a fictionalised document in which is told the story of a civilisation that became a multi-layered ruin, this last time due to an economical collapse. The character (a homeless), title (in German) and coins (the Euro as currency), are all of them clues to imagine the reason related to the latest defeat.
Cesar drowned, he doesn't know it. A geometric form in the centre of the city is the starting point of a path leading to improbable places. Cesar must find a new place in the World.
Continuidad (Continuity) is a short film about death and redemption in which, through a spiritual journey, the character experiences the center and the periphery of the city as if both places would be mutually contained by each other.
Faust wants to develop the city. Theodor is looking to govern the territory. They both have a different vision, but non of them will stop until turn everything on ruins. To destroy and smash is the path to make dreams come true.
Orthodoxie et Orthopraxie is a short film in which the act of destruction is simultaneously seen as a gesture of modernisation and war. The violent demolition of a house in Lima is set as a scale evoking the renovation of the whole city.
In an undetermined location near to Jerusalem, standing on the edge of the Green Line, with an Israeli settlement in the background, and over the ruins of a small Palestinian village, this film begins by attributing to paper a poetic -almost magical- function. Paper is the support of the written word, that one related to the memory, as well as to the law: the one of Man and the one of God.
It Never Pours but It Rains is composed by a flow of images that intertwine a performance with a happening. The first evokes the tyrant power of a support that oppresses human scale figures, in which a powerful -almost impossible- body gesture is needed to get redeem. While in the second, the fragility of the support is evoked as a piece of memory resisting the disappearance. In this action, the name of a small Palestinian village erased during the Nakba is handwritten in a sheet of paper that is left on a random sidewalk in Tel Aviv, while water drops make it slowly vanishing.
With belief and hopefulness in the progress, certain human and mechanical gestures join a precarious process of modernisation. Despite the useless of their actions, that process is seen as an epic journey, as an exciting anthropocentric adventure that transforms simultaneously the territory and ourselves.
Under the form of a visual essay, Entropía Limeña (Lima Entropy) evokes a flow of contradictions in which the city and the landscape are spaces in constant transformation and in permanent evolution. In the context of the late awakening of a city to the vertical line, this vision defines the territory as a theater of choreographies that is fed by the human effort. Body gestures are the raw material of the change and the transformation of the world.