ABOUT
BIO
María Lucianna Aguilar (hijadelacoca) is a Peruvian artist based in Lima. She holds a Bachelor of Fine Arts with a specialization in Conservation and Restoration of Cultural Heritage from the National Autonomous University of Fine Arts of Peru (UNABAP), and a Postgraduate Diploma in Artistic Pedagogies for Memory and Human Rights from the Universidad Nacional de las Artes (UNA), Buenos Aires.
Her work has been exhibited in Peru and internationally, including at the Every Woman Biennial (London, 2021), Arte Actual FLACSO (Quito, 2024), and MSH Paris Nord (France, 2024). She has participated in residencies including BicaPlataforma (Brazil, 2021) and FAR Art Residency (Buenos Aires, 2025). In 2025, she was a finalist for the ICPNA Contemporary Art Prize (Lima) and, in 2026, a semifinalist for the XVII National Painting Competition organized by the Central Reserve Bank of Peru (BCRP).
Alongside her artistic practice, she facilitates textile workshops and public programs in Peru and internationally. Since 2018, she has been a member of Collera Red, a feminist collective based in Lima.
María Lucianna Aguilar (hijadelacoca) is a Peruvian artist based in Lima. She holds a Bachelor of Fine Arts with a specialization in Conservation and Restoration of Cultural Heritage from the National Autonomous University of Fine Arts of Peru (UNABAP), and a Postgraduate Diploma in Artistic Pedagogies for Memory and Human Rights from the Universidad Nacional de las Artes (UNA), Buenos Aires.
Her work has been exhibited in Peru and internationally, including at the Every Woman Biennial (London, 2021), Arte Actual FLACSO (Quito, 2024), and MSH Paris Nord (France, 2024). She has participated in residencies including BicaPlataforma (Brazil, 2021) and FAR Art Residency (Buenos Aires, 2025). In 2025, she was a finalist for the ICPNA Contemporary Art Prize (Lima) and, in 2026, a semifinalist for the XVII National Painting Competition organized by the Central Reserve Bank of Peru (BCRP).
Alongside her artistic practice, she facilitates textile workshops and public programs in Peru and internationally. Since 2018, she has been a member of Collera Red, a feminist collective based in Lima.
STATEMENT
At the core of my practice are systems of inscription—the documents, images, objects, and technologies through which institutions materialize authority, define identities, assign value, regulate bodies, delimit territories, and construct collective memory. These include medical and forensic records, bureaucratic documents, passports, maps, banknotes, legal texts, and digital code.
Growing up in the periphery of Lima within a female-centered environment shaped my understanding of care, intimacy, and collective experience. Histories of illness, reproductive violence, migration, and my paternal Aymara heritage from the Peruvian Altiplano continue to shape how I think about memory, language, territory, and belonging.
I approach textile not only as a material or technique, but as a methodology. Through processes of stitching, layering, repetition, and material experimentation, I translate systems of inscription into textile forms, shifting the ways these materials are encountered, interpreted, and experienced.
My work renders visible the material and institutional structures through which knowledge, identities, values, and histories are produced, exploring how these systems shape collective memory and our understanding of the world.
At the core of my practice are systems of inscription—the documents, images, objects, and technologies through which institutions materialize authority, define identities, assign value, regulate bodies, delimit territories, and construct collective memory. These include medical and forensic records, bureaucratic documents, passports, maps, banknotes, legal texts, and digital code.
Growing up in the periphery of Lima within a female-centered environment shaped my understanding of care, intimacy, and collective experience. Histories of illness, reproductive violence, migration, and my paternal Aymara heritage from the Peruvian Altiplano continue to shape how I think about memory, language, territory, and belonging.
I approach textile not only as a material or technique, but as a methodology. Through processes of stitching, layering, repetition, and material experimentation, I translate systems of inscription into textile forms, shifting the ways these materials are encountered, interpreted, and experienced.
My work renders visible the material and institutional structures through which knowledge, identities, values, and histories are produced, exploring how these systems shape collective memory and our understanding of the world.