The Team


( is an artificer linked to various expressive forms (sculpture, installation, photography, video, performance). His works are generally associated with ecological and spiritual themes. He was born in Lima in 1982. He obtained his Bachelor of Arts from the Pontificia Universidad Católica del Perú (PUCP, 2007). In 2011 he completed a graduate degree at Chelsea College of Arts in London.

In Peru he has held two solo exhibitions: Darśan, and Cargo Cult. He also has a significant trajectory in public art proposals, including almost clandestine interventions in abandoned spaces in London, as well as highly visible installations in streets and plazas in Lima and Madrid. He is also the author of an important monument to the victims of terrorism in Peru.

Various versions of his Semillas (Seeds) have occupied such significant sites as the Plaza Matriz in El Callao (Peru), and the central courtyard of the Centro Cultural Conde Duque (Madrid, Spain). The most ambitious development of that complex project will be displayed, between June and November 2022, at Thomas Paine Park in Manhattan, New York City, specially invited by the Department of Parks & Recreation of that city. That specific placement is of particular relevance, both civic and historical, as it is surrounded by important public buildings and by the African Burial Ground Memorial dedicated to those interred there during colonial times.

Works by Miranda-Bambarén can be found in the Museo de Arte de Lima (MALI) and MICROMUSEO, as well as in several collections in Peru, England and Spain.


( is a curator, art historian, cultural theoretician, and museum activist. He was born in 1957, in Buenos Aires, Argentina, but grew up in Lima and his main identity keys are Peruvian. He graduated magna cum laude from Harvard University (1978) and taught at various Latin American graduate and undergraduate university programs. His books and exhibitions often explore the relationship between art and violence, art and politics, art and religion, as well as the deconstruction of established narratives regarding Native American subjects and cultures.

In Lima he has directed the Museo de Arte Italiano, the Museo de Arte de San Marcos and the Centro Cultural de San Marcos. He was Chief Curator of Lima’s first Photography Biennial (2011) and of the Peru Pavilion at the Venice Biennale (2019). Since the early 1980’s he has been the founder and “chauffeur” (driver, i.e., conductor) of MICROMUSEO (“al fondo hay sitio”), a museutopia conceived as a response to what he then diagnosed as the Peruvian museum void. An institutional lack to be confronted by an alter museality: plebeian, promiscuous, hybrid, mestizo. Some aspects of that experience are reflected in his role as coeditor of the book Museum Frictions: Public Cultures / Global Transformations (Duke University Press).

In addition to multiple interventions in its own local scene, MICROMUSEO was specially invited to produce ample and complex exhibitions in the last Valencia Biennial (2007) and in the first Chile Triennial (2009).

At present Buntinx is involved in various projects of historical research, while deepening his interests in returning the experience of art to its primordial origins.

Art outside (the world of) art.


( has cultivated, over the last 20 years, a rich knowledge of art and artifact collections management at the Colección Patricia Phelps de Cisneros, as an art handler in New York, and at the Blanton Museum of Art.

In addition to running the firm JT ROBINETTE, he now primarily advises on issues pertaining specifically to private collectors such as preventive conservation, logistics, and collection documentation. At the same time, he maintains a special interest in art logistics in Latin America.

His work as a peer-nominated member of the ARCS (Association of Registrars and Collections Specialists) board highlights his dedication to educating others about collections management through his involvement with the association. Likewise, he has participated in international conferences (in English and Spanish) for fellow professionals and organized some of them.

Ultimately, John recognizes that proper management of a collection protects its value and, thus, he has created the aforementioned firm to create a streamlined and very high standard of collection care to confidently execute this.