Museum Rietberg Zürich
Gablerstrasse 15
8002 Zürich
Tel. 044 206 31 31
Fax 044 206 31 32
www.rietberg.ch
Contact:
[email protected]
Direct line +41 (0)44 206 31 27
Press release
Chavín – Peru’s mysterious temple in the Andes
23 November 2012 – 10 March 2013
Chavín, with its temple complex and mysterious stone sculptures, has been regarded as the
th
birthplace of the mother culture of Andean civilisations since the early 20 century. The threethousand-year-old monumental buildings in the highlands of Peru are of the utmost
importance for the country itself and for all the cultures of South America. Although the
complex has been a UNESCO World Heritage site since 1985, until now there has never been
an entire exhibition devoted to Chavín. Not only is Museum Rietberg now holding the first
exhibition in the world but it has also committed itself to supporting the further exploration and
conservation of Chavín and its culture. The show and its accompanying catalogue have been
created in collaboration with leading archaeologists, the Peruvian Ministry of Culture, and the
Swiss Federal Office for Culture
Chavín de Huántar
In the narrow valley of Callejón de Conchucos, behind the snow-covered mountains of the Cordillera
Blanca in the Peruvian highlands, lie the ruins of the ceremonial centre of Chavín de Huántar. In Peru
everybody knows the three-thousand-year-old building complex; here, very few have ever heard of it.
At least 2,500 years before the Inca, on a site exposed to the full force of the elements, people erected
a monumental temple, a task that would have involved vast expenditure and enormous labour. With
great skill, they shaped the hard stone and decorated the buildings with huge reliefs and mysterious
sculptures. They diverted mountain torrents, constructed canals and merged two separate streams. By
opening and closing sluices on the canals they created a thunderous, mystical, roaring noise in the
temple interior, and they diverted sunlight deep into the subterranean chambers and galleries – one
has to be close to the gods to undertake such extraordinary feats.
It seems that the new elite, most probably a priestly caste, used these overwhelming spectacles to win
the loyalty of the most powerful figures in different regions, and it is likely that competing centres
spurred each other on to impress their people with ever more dramatic performances. Privileged
followers probably made pilgrimages to the temple at specific times. In the theatrically conceived and
designed ceremonial centre, a new worldview and a new system of meaning were created and
communicated – the foundations of the earliest complex form of society in the central Andes.
From early times, the massive stone buildings attracted the attention of travellers and scholars. As
early as the mid 16th century, one chronicler wrote of an imposing fortress with gigantic, strange
sculptures, and faces on its walls. At the beginning of the 17th century there were reports of an oracle
in the narrow, inhospitable and remote high valley which was comparable to Rome or Jerusalem.
In the 20th century, the pioneering Peruvian archaeologist Julio C. Tello argued that Chavín de
Huántar was the birthplace of the advanced Andean civilisations and the heart of their mother culture.
A central focus of his research was ‘el Lanzón’, a tapering sculpture over 4 metres high, so called
because of its lance-like shape. It stands in an extremely dark and narrow chamber in the interior of
the temple, and can only be reached via a long, narrow gallery. Like many other Chavín sculptures, it
depicts a human-like figure with feline features, fangs and claws. Similar representations can be found
in other reliefs, which is why Tello suggested that the deity who was venerated in the temple complex
was Wiracocha – the same one who was later venerated by the Inca – in his original shape of a
jaguar. He thus proposed a link to the Amazon region, and at the same time showed the great age of
the temple complex. His thesis of Chavín as mother culture was strengthened by the Exhibition in
Lima of two other key sculptures from Chavín, the Raimondi Stela and the Tello Obelisk.
The early ceremonial buildings were erected by agricultural societies in the river oases which they
cultivated, and served as meeting places and as a stage for rituals and customs. Gradually, a social
class developed with an increasing sense of entitlement, along with specialised crafts. The struggle for
resources and farming land was also played out by the competing display of increasingly large local
ceremonial buildings. Representations of supernatural, mythological human/animal composite figures
played a central role in this.
Chavín de Huántar was not the only temple complex of its time but was quite possibly the largest.
Other centres existed in the same period, such as Kuntur Wasi, Pacopampa or Kotosh. Their
similarities and differences show that although they shared a social system and worldview they
competed for influence and followers. Thanks to the fascination it has always exerted, and the long
research history, the temple complex of Chavín de Huantar offers a unique window into a world which
can shake our western-influenced ideas about culture and progress. Not with force of arms or the
written word but with art, music and the stimulation of all the senses, a worldview was established in
Chavín which shaped society in the Andean region – and gave Chavín the title of ‘mother culture’.
Exhibition
The exhibition was conceived in collaboration with leading archaeologists in the field and the Peruvian
Ministry of Culture. It presents the first overview of the art and culture of Chavín and equally
importantly – for the protection of the world cultural heritage of Chavín – it initiates international
cooperation between Peru and Switzerland: with the latest technology and the use of laser-scanners
and aerial photogrammetry, the state of the whole temple and its sculptures was measured and
documented in spring 2012. Together with the Swiss Federal Office for Culture, Museum Rietberg is
also funding the creation of a restoration workshop for stone sculptures in which from August 2012
Swiss specialists in close collaboration with local apprentices have been sharing knowledge to
preserve the endangered cultural artefacts.
Thanks to this engagement on site, Museum Rietberg can now present some 200 artefacts for the first
time: large stone sculptures and reliefs of supernatural human/animal composite creatures which have
never left Chavín before, precious clay vessels from the subterranean galleries of the temple, the
oldest ritual gold jewellery of the whole of the Americas, and colourful, large-format textiles. The
design of the exhibition echoes the temple of Chavín. Whoever was allowed to enter the temple many
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thousand years ago had sensory experiences which in the exhibition are replicated with objects but
also with sound and film – interpreted in a modern way – and made accessible to everyone.
Two films have been produced especially for the exhibition. An animation (approx. 15 min.) visualises
the architecture and the entire natural space of the temple. Leading archaeologists John W. Rick
(Stanford University) and Luis G. Lumbreras (Lima) contributed as consultants to the virtual
representation of the temple and the introduction to the architecture and its history. A documentary
film (approx. 34 min.) by Marion Friedrich Honegger and Otto C. Honegger explores the archaeology
of Chavín in more depth.
Apart from monumental architecture, sound and music also served the priestly elite as means for the
transition into another state of perception, for audiences with the gods. In spring this year, the
Peruvian saxophonist Jean Pierre Magnet and the Swiss trombonist Michael Flury found inspiration on
site. The result was several concerts in Lima, Chavín and Zurich. With the pututus, conch-shell
trumpets, which were excavated in the temple, Flury has created a sound installation which takes the
visitor to the exhibition at Museum Rietberg into the mysterious spheres of Chavín.
In collaboration with the Ministerio de Cultura del Perú and the Swiss Federal Office for Culture
Lenders
Over 90 per cent of the exhibits come from Peruvian museums. This is something new, for European
and United States special exhibitions about the archaeological cultures of Peru are normally created
with collections from non-Peruvian museums. Most of the exhibits have never been shown outside
Peru.
The exclusive highlights of the exhibition are the 13 large stone sculptures of Chavín and the three
complete royal grave inventories with gold jewellery from the Kuntur Wasi temple. The five
multicoloured, intricately woven, large-format textiles will amaze visitors with their mysterious pictorial
motifs and remarkably fine state of preservation. The beautifully carved and decorated conch-shell
trumpets from the Chavín temple do not remain silent but can be heard in the sound installation. For
the first time, precious ceramic vessels are displayed which were deposited three thousand years ago
as sacrificial offerings to the gods in the Chavín temple. Their decorations of dragon creatures and
mythical figures are mysterious and fascinating. Further exhibits include unique ceramic vessels, bone
carvings, stone sculptures and gold jewellery.
Lenders: Museo Nacional Chavín; Museo Kuntur Wasi, Museo de la Nación; Museo Nacional de
Arqueología, Antropología e Historia del Perú; Museo de Arqueología y Antropología, Universidad
Nacional Mayor de San Marcos; Banco Central de Reserva del Perú, Lima; Museo Larco; Museo de
Arte de Lima; Fundación Museo Amano; The Metropolitan Museum of Art, New York; Pre-Columbian
Collection, Dumbarton Oaks, Washington, D.C.; University of Pennsylvania Museum of Archaeology
and Anthropology, Philadelphia; Saint Louis Art Museum; The Cleveland Museum of Art, Ohio.
Sponsors of the exhibition
The exhibition was generously supported by Novartis, the Parrotia Foundation and the Avina
Foundation.
The sound projects were supported by Rahn Kulturfonds and Pro Helvetia.
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Catalogue
The catalogue was conceived by leading scholars during the mesa redonda in Lima (17, 18 January
2011). It is the first comprehensive publication on the archaeology of the Formative Period (c. 3500–
200 BC) and the early cultural history of Peru. The book includes an essay section (224 pp, 136 colour
illustrations) in which the authors describe their research projects and results, and a catalogue section
(184 pp, 173 exhibits) with many photographs and detailed descriptions of the exhibits.
Chavín – Perus geheimnisvoller Anden-Tempel
Edited by Peter Fux, Museum Rietberg Zürich
Verlag Scheidegger & Spiess
Bound, 408 pages, approx. 280 colour plates
23 x 30 cm, ISBN 978-3-85881-365-7; CHF 66 | EUR 58
Project partners
Measurement and documentation of the temple complex of Chavín:
ArcTron 3D GmbH, commissioned by Museum Rietberg
Restoration of stone sculptures in Chavín:
Gregor Frehner AG, Winterthur; Peter Fux, Museum Rietberg Zürich; Luis G. Lumbreras, Lima;
Bundesamt für Kultur, Bern; Ministerio de Cultura del Perú, Lima
Music and sound:
Michael Flury, trombonist, Zürich and Hamburg
Talks
Saturday, 24 November 2012, 14.00 –18.00
The Archaeology of Rituals and Activities in Andean Temple Buildings
Prof. Dr Luis G. Lumbreras, Lima
Prof. Dr John W. Rick, Stanford
Prof. Dr Yoshio Onuki, Tokyo
Sunday, 3 February 2013, 11.00 (in German)
Gregor Frehner, stone sculptor/restorer: The stone restoration in Chavín.
A joint project of Museum Rietberg, the Federal Office of Culture and the Peruvian Ministry of Culture
Volkshochschule des Kantons Zürich
Chavín – Mother culture of the Andes? (in German)
Information and registration:
www.vhszh.ch
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Exhibition guided tours and workshops
Tours for adults:
Public tours every Sunday 11.00, Wednesday 18.00, Thursday 12.15
Private tours, Tel. +41 44 206 31 11 / 31
Workshops for adults, children and families:
Sundays, 10.00 – 16.00 (not 23 and 30 December 2012)
Open workshop (5 years and over)
Creating golden jewellery from brass
Wednesday, 5 December 2012 or Sunday, 19 December 2012, 16.30 –18.30
Creative course for young people (10 years and over)
Transformations – A workshop with digital media
Wednesday, 16 January or Wednesday, 6 March 2012, 14.15 –15.45
Storytelling afternoon for young and old
A pilgrim’s journey and his encounters with Jaguar, Spider and Snake
Sunday, 20 January 2013, 10.00 –12.30
Children’s workshop (7 years and over)
How do archaeologists do research? A journey of discovery to Peru
Wednesday, 23 January, 14.00 –16.30
Workshop for grandparents and grandchildren (5 years and over)
How to chase away a jaguar with a handmade rattle
Sunday, 3 February, 14.00 –16.30
Family workshop (5 years and over)
Discover dragons, cats, and other creatures and emboss them on gold foil
Saturday, 16 February, 14.00 –16.30
Children’s workshop (7 years and over)
Children’s own sound installations as inspiration to make new pictures
Detailed information and other offers, also for school classes: www.rietberg.ch
Concerts
Friday, 7 December 2012, 20.00
The Zurich Chamber Orchestra at Museum Rietberg
Friday, 11 January 2013, 18.00
In search of Chavín’s world of sound
Exhibition tour and conch-shell demonstration with trombonist Michael Flury
Sunday, 27 January 2013, 19.00
Concert in the jazz club Moods in the Schiffbau
Rietberg presents: Jean Pierre Magnet and Serenata de los Andes
www.moods.ch
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Exhibition
Exhibition concept, and curator
Peter Fux
Exhibition design
Martin Sollberger
Lighting
Rainer Wolfsberger
Exhibition graphic design
Jacqueline Schöb, Frédéric Tischhauser
Typography
Urs Gägauf
Marketing & Communications
Christine Ginsberg
Media planning and events
Monica Stocker
Multimedia, Web
Masus Meier, Andrea Stefanoni
Registrar
Andrea Kuprecht
Information and contact
Further information and download of photographs on www.rietberg.ch
Museum Rietberg Zürich | Gablerstrasse 15 | CH-8002 Zürich
Tel. + 41 (0)44 206 31 31 | F. + 41 (0)44 206 31 32 | Infoline: Tel. + 41 (0) 44 206 31 00
[email protected] | www.rietberg.ch
Hours:
Tue–Sun 10.00–17.00 | Wed and Thu 10.00–20.00
Admission:
Adults CHF 16 | reduced CHF 12 | up to the age of 16 free
Access:
Tram 7 (direction Wollishofen) to the “Museum Rietberg” stop (4
stops from “Paradeplatz”). No parking; disabled parking available.
RailAway offer:
By train to Museum Rietberg – www.railaway.ch 10% reduction for
train tickets, transfer and admission.
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