Jaime Miranda-Bambarén, NYC, 2022

(Photography: Marcelo Brodsky)




Jaime Miranda-Bambarén is a Peruvian artist born in Lima in 1982.



2018 An introduction to social-ecological systems in Latin America / SARAS, South American Institute for Resilience and Sustainability Studies and Stockholm University, Uruguay



University of Oxford

2016 Anatomy course with Eleanor Crook and Sarah Simblet.

2011 Anatomy course with Brian Catling RA, Sarah Simblet and Eleanor Crook.

2015 (Decides not to attend) (Brian Catling RA is his referee)

Admitted, Royal College of Art, MA Sculpture. London        


2012 El Otro Documental (documentary course conducted by José Balado)

University of the Arts, London.

2011, PgDip Fine Art, Chelsea College of Arts.

Pontificia Universidad Católica del Perú. Lima-Peru.

2001-2007, B.A. Fine Art, specialty in sculpture.

Public Talks

(LINK) 2017, May 16, Cultos del cargamento en el arte contemporáneo.  (Jaime Miranda-Bambarén / Haroldo Hernández /Gustavo Buntinx) Av. Larco 770, Miraflores, Lima

2015, February 19, Invited to talk at "El otro documental / DOCUPERU" (project directed by José Balado)


2018 An introduction to social-ecological systems in Latin America / SARAS, South American Institute for Resilience and Sustainability Studies and Stockholm University, Uruguay

Solo Exhibitions

2017 - 2016 (LINK) Cargo Cult (curator: Gustavo Buntinx) Micromuseo / Paradero Real Felipe, Callao-Peru.

2016 (LINK) Darśan, Expiraciones del Arte / Atisbos del Aura (curator: Gustavo Buntinx), Sala Raul Porras Barrenechea, Miraflores, Lima Peru.




2005 First Prize in the competition for the design of the “Monumento en Honor a la Verdad para la Reconciliación y la Esperanza” to represent the uprootedness caused by terrorism in Peru.




Public Sculptures / Interventions

 2022 (temporal: 21 June - 1 November, 2022) SEEDS, 13 MOONS, Thomas Paine Park, Manhattan, NYC, U.S.A.

2021 (temporal) Semillas (In collaboration with Erasmo Wong Seoane), av. Mariano Melgar 441, Miraflores, Lima-Peru.

2020 (permanent: December) Semillas, Miguel Dasso 100, San Isidro, Lima-Peru.

2019 (temporal: 26 February - 24 March 2019) Semillas (curator: Gustavo Buntinx), CENTRO CULTURAL CONDE DUQUE, MAIN PLAZA, Madrid, Spain.

2018 (temporal: April) Meteoro (In collaboration with Gustavo Buntinx), Lima-Peru.

2017 (temporal: December - 18 December 2018 ) Semillas, Miguel Dasso 100, San Isidro, Lima-Peru.

2016 (temporal: October 2016 - December 2017) Semillas (Cargo Cult) (curator: Gustavo Buntinx) Plaza Matriz, Callao-Peru.

2016 (permanent: July 2016) Palaeolithic Insemination of a Royal Womb (In collaboration with Erasmo Wong Seoane), Cave under the Thames river, beside St. Pauls Cathedral, London.

2016 (temporal: July 2016 - August - 2016) Tolstoy, Trump, Princess Diana (In collaboration with Erasmo Wong Seoane), Trafalgar Road, Greenwich, London.

2016 (temporal: March 2016 - October 2016) Seeds, Larco 770  (curator: Gustavo Buntinx), Miraflores, Lima-Peru.

2015 (permanent) Reliquary, Blessed Martyr Padre Sandro Dordi (In collaboration with Monsignor Luis Bambarén), Santa Parish, Ancash - Peru.

2015 - 2015 Seeds, Miguel Dasso 100, San Isidro, Lima-Peru.

2014 (permanent) Seeds, Torre Begonias (first green skyscraper of Peru), (architect: Bernardo Fort-Brescia), San isidro, Lima-Peru.

2014 Seeds (curator: Jorge Villacorta), Astrid y Gaston -Casa Moreyra, San Isidro, Lima-Peru.

2012-2014 Seeds, Miguel Dasso 100, San Isidro, Lima-Peru.

2012 (permanent) Seeds, Le Grand Hotel Ilo, Ilo - Peru.

2011 (permanent) The Pillars of the Empire, 51° 29’ 38.60 ”N 0° 0’ 5.00 ”E, London-Uk.

2010 (permanent) Ask and it is given, Santra Putra, Ubud, Bali-Indonesia.

2009 (permanent) Altar, Markham College (library), Miraflores, Lima-Peru.

2008 (permanent) Monolith, Cipolleti, Patagonia-Argentina.

2007 - (destruction: May 2010) Monumento en Honor a la Verdad para la Reconciliación y la Esperanza. Av. Pachacútec block 36, Villa María del Triunfo, Lima-Peru.

Group Exhibitions


2022 ONWARD - Long House Summer Benefit, East Hampton NY

2018 (15 February - 12 March, 2018) Palaeolithic Insemination of a Royal Womb, Arte Sur, Palais de Tokyo, Paris.

2017 The Pillars of the Empire, What's That Thing? British Public Art, Royal College of Art, London.

2015 Monumento en Honor a la Verdad para la Reconciliación y la Esperanza, Adquisiciones y Donaciones 2012-2014. Parte II (curator: Sharon Lerner), Museo de Arte de Lima (MALI – Lima Art Museum), Lima.

2014 Darsan (In collaboration with Tatiana Kobikova) MA Fashion Artefact Degree Show, London College of Fashion, Victoria House Basement, London.

2013 Manifesto, part of SALT publication issue, Vestige Event, Design Museum, London.

2013 The Pillars of the Empire, Portobello Film Festival, Video Cafe, Sun 15 Sept, Westbourne Studios,

2013 Monumento en Honor a la Verdad para la Reconciliación y la Esperanza, Lima 04 (curator: Rodrigo Quijano),(Miguel Andrade, José Carlos Martinat, Juan Javier Salazar, Jaime Miranda-Bambarén) Museum of Contemporary Art Lima.

2011 The Pillars of the Empire, PgDip Fine Art Degree Show, Chelsea College of Art and Design, London.

2011 The Pillars of the Empire, PgDip Fine Art Interim Show, Triangle Space/Chelsea College of Art and Design, London.

2011 Mad Man In London Rehearsing A Speech On Spiritual Transcendence, FM2, Chelsea College of Art and Design, London.

2011 Transcendental Aesthetics, MySpace, Chelsea College of Art and Design, London.

2008 Monolito, International Sculpture Symposium, Cipolleti, Patagonia.

2008 Máquina de Viajes Astrales, Ocupando (curator: Jorge Villacorta), [e]Star gallery, Lima.


Museo de Arte de Lima ( MALI – Lima Art Museum ).

Micromuseo (“Al fondo hay sitio” ).

Jaime Miranda-Bambarén (Lima, 1982) is a Peruvian artist related to different ways of expression (sculpture, installation, photography, video, performance), who has created works generally associated to ecological and spiritual postulates. He has also an important background in public art proposals, including almost unnoted interventions in abandoned spaces in London, highly visible occupations in Lima streets and public squares, and an important monument to the victims of terrorist violence in Peru. The latter was destroyed in 2010 during an operation that resulted in a very well-known scandal, involving municipal authorities that denied their participation in this vandalism. Miranda Bambarén’s works are in the Lima Art Museum (MALI, in Spanish) and in Micromuseo ("al fondo hay sitio"), besides of several collections in Peru, England, U.S.A. and Spain.


25 June 1982 Lima, Peru



Known for


Alma mater

Chelsea College of Arts - PUCP

Notable works

Monumento en Honor a la Verdad para la Reconciliación y la Esperanza





Life and education

Jaime Miranda-Bambarén was born in Lima in 1982 and studied at the Markham College in that city. In 2001 he was admitted to the Pontificia Universidad Católica del Perú and six years after he obtained his Bachelor’s degree in Arts, in the sculpture specialty. Likewise, he followed courses of anatomic drawing with Carmen Herrera Águila, sculptor and aikido instructor, to whom Miranda-Bambarén attributes a decisive influence in his own work, particularly because she introduced him to the Taoist aesthetic principles.[1] In 2010 he lived in Indonesia and in 2011 he moved to England to follow the PgDip Fine Art program at the Chelsea College of Arts in London. That same year and in 2016 he took open courses at The Ruskin School of Art, University of Oxford, with artists Eleanor Crook, Brian Catling and Sarah Simblet. He also participated in the distance Master’s class course given by German filmmaker Werner Herzog.

Jaime is a descendant of the archaelogist Frederick Lukis

He lives and works in Lima since 2011.


Public art in Lima

His several interventions in public spaces are some of Miranda-Bambarén’s works that could be highlighted. In 2005, this passion obtained an early recognition when he was granted the prize in the contest called for preparing the Monument in Honor of the Truth for Reconciliation and Hope located in the borderland between three popular districts in Lima: Villa María del Triunfo, Villa El Salvador, and San Juan de Miraflores.[2] This location was chosen as it was one of the capital areas where people expelled from the internal part of the country during the political violence processes that took place in Peru in the 1980s and 1990s gathered. In order to symbolize this uprooting, the work located there by the artist elevated a huge tree with exposed roots over an empty space excavated on earth to shelter the names of the migrants’ origin villages.

This dramatic structure was destroyed during the dawn of May 28, 2010, through an operation that intended to be anonymous. However, the photos of this vandalism taken by a Micromuseo collaborator allowed this entity to denounce these facts. This generated a well-known public scandal that involved local authorities. These authorities assigned the destruction to road works in the district and then denied their participation in this issue. This case was not judicialiced.

Miranda-Bambarén’s other works have had a happier fate, particularly the pieces known under the general name of Seeds: huge carved spheres made of remains of trees from the Peruvian forest and mountains. The resulting works irradiate cosmic and ecological connotations, as have been highlighted by Peruvian theoreticians Gustavo Buntinx and Jorge Villacorta.[3] Continuously made since 2012, some of these pieces have occupied emblematic spaces in the city. During 2014 these pieces were located in the traditional Casa Moreyra and the Torre Begonias, a recognized building constructed by architect Bernardo Fort-Brescia.[4]  Other places include the modern Larco avenue in the Lima district of Miraflores and the historical Main Square in the port of El Callao (2016-2017).

Miranda-Bambarén has also collaborated in performing the sacrum art works for more institutional, but not less dramatic, environments. In 2016, he gave the Catholic Church the transformed log that is used as a reliquary for the blood and belongings of Alessandro Dordi, one of several catholic priests murdered by Sendero Luminoso in the Ancash region and then beatified.[5]

Public art in London

In London, Miranda-Bambarén’s interventions have been more discrete, such as the carving of Totem figures in the poles of the forgotten Thames river historical docks in 2011[6] Or the inscription of a ritual manifest inside an unused sewer under the St Paul’s Cathedral and in front of the Tate Modern museum in 2016 (Palaeolithic Insemination of a Royal Womb).[7] Both works interact with the Imperial city history, but also with its nature, as they were made during the low river tide and all days are covered by the waters that gradually modify them. To this relation with the main forces and their contrast to the modern metropolis refers the British critic Kate Neave in a comment highlighting the counterpoint achieved between the carved docks and the great architectonic towers of the financial center Canary Wharf, located in front of these sculptures.[8]


Miranda-Bambarén’s works have been included in collective exhibitions in London (Chelsea College of Arts; Royal College of Art; London College of Fashion; Design Museum; Lima (Lima Contemporary Art Museum (MAC-Lima); Lima Art Museum (MALI); [e]Star gallery); and in Cipolletti, Argentina (II International Sculpture Symposium).

Sharon Lerner, Rodrigo Quijano and Jorge Villacorta are some of the curators involved in these experiences.

Until May 2017, the artist has conducted two personal exhibitions, both began in 2016 under the curatorship of Gustavo Buntinx and in spaces that were temporarily used by Micromuseo.

The title of the first of these pieces ––Darśan–– refers to the Eastern concept of darśan ––or Darśana–– a Sanskrit term that refers to the ephemeral glimpse of the sacred, according to the explanations provided by the artist himself and prepared in Buntinx’s curatorship text.[9] The gathered works explored this concept from a variety of languages, both abstract and figurative, and even documentary. There was also an evident plurality in the deployment of techniques. A circular soil fracture was added to the sculptures, installation and videos, which forced the architectonic art container to propose the reestablishment of the lost relation between nature and culture, besides other spiritual suggestions according to the curatorship text.[10]

The second exhibition was called Cargo Cult, referring to the so-called “cultos cargo” or “cargo cults”, terms that anthropologically intends to define certain ritual practices generated in some tribal societies after being temporarily exposed to modern products. In several cases, native people try to provoke a new access to those goods through magical pretenses of long-missed goods. Miranda-Bambarén’s new piece resulted from the reflections caused by his previous interventions on the docks in the British capital: three pieces related to these processes have been already included in Darśan, but their full sense is acquired in Cargo Cult, as they are located there in the neoclassical building of what was the Bank of Peru and London in El Callao port.[11]

In this impressive architecture, similar to an old temple, the artist deployed as relics scattered war technology fragments, including the “main idol” of a military floatplane wrecked in the Peruvian forest.[12] According to the exhibitor’s story, these remains would have been used by a disappeared Amazonian shaman ––Benigno Ramos–– as power objects for his magical fights against “the obscure mafias of illegal lumbermen that depredated the area.”[13] This appropriation of a destroyed technology for ritual purposes is the one defining the sense of the piece and an important part of Miranda-Bambarén’s final production.

Within the Cargo Cult context, the artist and curator organized a “liturgical act” under the Pata de Cabra (crowbar) denomination.[14]

These and other proposals place Miranda-Bambarén in an important position within the recent trends that aim at a respiritualization of contemporary art.

External links

[1]Miranda-Bambarén, Jaime. "Taoism and Life Drawing". www.jaimemiranda.com

[2] “Destruyen monumento al ‘Árbol desarraigado’ en VMT” (Destroyed monument to uprooted tree in VMT), La República, Lima, May 31, 2010. The Micromuseo reports and probationary photos were published in the journal of this project and were then reproduced in several printed and TV media. There were also reproduced the exculpations of the municipal authorities. Below we show the sequence of the initial reports: -https://micromuseo-bitacora.blogspot.pe/2010/05/alcalde-de-villa-maria-del-triunfo.html-https://micromuseo-bitacora.blogspot.pe/2010/05/la-municipalidad-de-villa-maria-del.html-https://micromuseo-bitacora.blogspot.pe/2010/06/cndddhh-condena-atentado-vandalico.html-https://micromuseo-bitacora.blogspot.pe/2010/06/batallas-por-la-memoria-ix-la-facultad.html-“Nadie asume culpa por derribo de escultura. Era homenaje a víctimas del terrorismo” (Nobody take the blame for destroying the sculpture. It was a tribute to the terrorism victims), El Comercio, Lima, June 1, 2010. Rep. at: http://www.jaimemiranda.com/works/iPhilosopher Martín León G. published an interpretation of the facts at http://logicadelacalle.blogspot.pe/2015/07/noticias-de-un-secuestro-o-la-cronica.htmlIn 2013 the Micromuseo materials and other related were showed in a collective exhibition called Lima 04, organized by the Lima Contemporary Art Museum (Rodrigo Quijano, “Horizontes compartidos” (Shared horizons), in Lima 04, Lima, Contemporary Art Museum, 2013, pp. 86-93, sp. p. 92). In 2014 the Lima Art Museum (MALI, in Spanish) incorporated part of the photographical record for its collection and, in August 26, 2015, included it in the exhibition Adquisiciones y donaciones (Acquisitions and donations) 2012-2014. Parte II(Sharon Lerner’s curatorship). In 2016 this documentation was included in Darśan, Miranda Bambarén’s first individual show, where also the remains of the monument’s commemorative plate were exposed; this remains were rescued by both the artist and the Micromuseo.

[4]Semillas en la selva de cemento” (Seeds in the cement forest), En Lima. Lima, volume II, 2016. David Flores-Hora, “Espacio público” (Public space), Perú.21, Lima, April 2, 2016. (Rep. at: www.peru21.pe/cultura/espacio-publico-david-flores-hora-opinion-2242836). Zoë Massey, “’Darsan’, ver donde no hay” (’Darsan’, see where there is not), Lima, March 23, 2016, p. 13.

[6]http://www.micromuseo.org.pe/rutas/cargocult/thepillars.html http://www.micromuseo.org.pe/rutas/cargocult/fiveyearslater.htmlEnrique Planas, “Lo que germina de una semilla” (What germinates from a seed), El Comercio , Lima, March 15, 2016. (Rep. at: http://www.jaimemiranda.com/works/o)

[9]Gustavo Buntinx, “Darśan. Expiraciones del arte / Atisbos del aura” (Expirations of art / Glimpses of aura), at: Jaime Miranda Bambarén, Darśan, Lima, Municipality of Miraflores, 2016. (Rep. at: http://www.micromuseo.org.pe/rutas/darsan/sinopsis.html)


[12]David Flores-Hora, “Sincretismo” (Syncretism), Perú.21, Lima, December 15, 2016 (rep. at: https://peru21.pe/cultura/sincretismo-david-flores-hora-opinion-235914).

[13]Mito liminar» (Liminar myth).

[14]"Pata de cabra" (Crowbar).