Société is pleased to announce Volveré y seré millones, a solo exhibition with Wynnie Mynerva. Translated as “I will return and I will be millions,” the title references the final words of revolutionary Andean leader Túpac Katari, whose legacy of collective struggle against Spanish colonial rule informs the exhibition’s exploration of relationality, communal memory, and resistance. Volveré y seré millones emerges from three concerns: the violence in the Middle East, the global construction of Berlin as an icon of “sexual liberation,” and the artist’s own process of migration and legalization in Europe. Faced with the coldness of war, the persecution of migrants, and the ongoing erasure of alterity, an urgent question emerges: what forces resist? Through new paintings, video works, and an installation, Mynerva examines broader forms of collective, social, and cosmological relationality. Drawing upon colonial histories, the experience of migration, and legacies of sexual liberation, the exhibition traces their search for new ways of loving, being loved, and resisting—signaling a “return home” to Andean thought.

In the territories that indigenous communities call Abya Yala, the concept of love as Europeans understand it did not exist before 1492. And yet deep emotions were bound to communal life, rooted in the conviction that everything is connected: bodies, nature, cycles of time, and ancestors. The isolated subject of Western thought does not exist in Andean thought. Bonds arise not from individual choice but from interdependence—the certainty that life is only possible within a web of mutual care that sustains and reproduces collective existence. Mynerva grounds Volveré y seré millones in this cosmological inheritance, quite literally absorbing myths—and potential futures—of resistance into the architecture of the space. A massive clay wall meets visitors upon entering the gallery. Redirecting the customary flow of the exhibition space, Mynerva’s installative intervention summons the Andean legend of Inkarri: the last Inca who was dismembered and buried beneath the earth. According to this story, his body regenerated in the soil, spawning seeds of resistance that, when he rises again, will ultimately restore order to a fraught and violent world, reinstating common values interrupted by the ravages of colonialism. The Inkarri myth tells of violence and destruction, but also persistence and struggle, affirming the impossibility of destroying a collective struggle. It is not only a story of the past but a model for the present—a framework for understanding how communities sustain themselves, and one another, in the face of forces designed to dispossess and divide.

Departing from their own experience of migration from an Andean to European context, Mynerva’s exhibition poses an urgent question that carries throughout the different works: whose bodies are legible and accorded rights, and which forms of attachment become possible—or necessary—amidst repressive structures. New paintings and the video work El amor en tiempos de colonialismo extend this inquiry into the present, tracing marriages between migrants—arrangements that do not follow a romantic logic, but rather an ethic of care, shared responsibility, and urgency. Within this framework, love is neither reduced to an intimate feeling nor to a private bond, but sustained through constant exchange. Every being exists only insofar as it is linked to others. “In this sense,” Mynerva asks, “what is love, if not a relational force—the energy that holds together bodies, territories, ancestors, and cycles of time?”

Wynnie Mynerva (b. 1992, Lima, Peru) lives and works between Berlin and Barcelona. They recently were a resident at the Rijksakademie van Beeldende Kunsten, Amsterdam. Mynerva’s work has been the subject of solo exhibitions including The Sweet Nectar of Your Blood at Mayoral, Barcelona (2025); My Weaponized Body at Gathering, London (2024); Presagio at Fondazione Memmo, Rome (2024); The Original Riot at the New Museum, New York (2023); and A Garden of Earthly Delights at Museo Amano, Lima (2020). Their work has also been featured in group exhibitions at Il Posto, Santiago de Chile (2024); Sargent’s Daughters, New York (2023); and Pedro Cera, Lisbon (2023), among others. They have been shortlisted for numerous awards, including Pasaporte para un Artista (2020), the Banco Central de Reserva Painting Contest (2019, 2020), the Contemporary Art Award (2019, 2020), and the National Visual Arts Meeting of Trujillo (2018).