Andrea Ferrero (Lima, 1991) is a visual artist from Lima, Perú who lives and works in Mexico City. She received a BFA in Sculpture from the Pontificia Universidad Católica del Perú and participated in the SOMA Academic Program in Mexico City 2019-2021. Andrea’s work is currently part of OTRXS MUNDXS curated by Aram Moshayedi at Museo Tamayo and was part of the Malta Biennale in 2024. Her work has been shown in spaces such as Museo Tamayo (Mexico City), Museo Jumex (Mexico City), Taoyuan Museum of Fine Arts (Taoyuan), Swivell Gallery (New York), Gallery Shilla (Seoul) and Museo de Arte Contemporáneo (Lima). She has been part of artist residencies at Pivô arte e pesquisa, Sao Paulo; HANGAR, Lisbon, Fountainhead Arts, Miami; Mass MocA, Massachussets, FLORA ars+natura, Bogotá, among others. She was awarded the Virginia A. Groot Foundation Award 2019 and was a finalist in the Taoyuan International Art Award 2023 in Taiwan.
Andrea Ferrero’s work is rooted in sabotaging power games, playfully encouraging the reevaluation of symbols of domination embedded into built space. She appropriates motifs in colonial architecture that perpetuate narratives of power and control, resignifying them through exercises of collective imagination and fictions that weave historical facts with hearsay, political myth, personal stories, prophecies and possible futures. Examining food ceremonials as tools of power and spectacle, her work highlights how their theatrical displays of wealth mirror the monumental aspirations of architecture. Her fantasies translate into immersive installations that subvert symbols of power, trading permanent materials—like bronze and marble— for temporary ones —such as chocolate, gelatin, soil and wax. Often juxtaposing these perishable materials with industrial objects, she configures alternate histories, drawing from archival material and photogrammetry to craft life-sized recreations of imagined ruins in edible forms. Transforming the monumental into consumable, and trading permament materials—like bronze and marble— for temoprary ones, her work aims to reactivate remnants of history through sensory interaction, involving the audience in ephemeral sweet bacchanalia and offering sites of possibility and transformation. Seeking to trigger exercises of collective imagination, Ferrero plays with provocation, deceit and displacement, deconstructing the value of an object only to rebuild it in a different gaze, where a fragmented piece of architecture serves as a comforting reminder that most empires fall.