ArtBCO
  • Sandra Ramos (1969, Havana), Lives and works in Havana and Miami Alongside Belkis Ayón, Abel Barroso and Ibrahím Miranda, Sandra Ramos is one of the artists that led a revolution, or what came to be known as a “vindication”, in engraving in Cuba in the 1990s. But Sandra does not just focus on engravings; she also produces installations, videos, paintings, collages. She has a characteristic preoccupation with issues of migration, and how these are linked to memory, loss, and uprootedness. Her name cannot go unmentioned in any serious writing on exodus and flight, and has become indelible from any conversation on issues of identity and of what Ramos has characterised as “our cursed condition of being surrounded by water everywhere”: a condition intimately tied to deep existential concerns (such as isolation and levity), if not death itself. Her art can thus be seen as a sort of insular Apocalypse, without being parochial for it. Ramos’s work is laced with poetry. Her pieces embody the schizophrenic logic upon which Cuba’s social imaginary is built, a reservoir of hope and disenchantment, recovery and loss, happiness and sorrow, acceptance and rejection. MÉXICO / SAN FRANCISCO EXPO CHICAGO 2016 SEPTEMBER 22 - 25, 2016 Navy Pier, Chicago, IL, EE. UU. STAND 651 Consonant with this, her images have a quality of imprecision, of deterioration caused by mental turmoil. Her work also captures what is there as desire and aspiration. Such material allows Ramos to occupy a space that is blurred by uncertainty, if not drowned in that last instance. Her creations are about constants in the limbic system that have disappeared, become estranged, fleeting and floating, both in the remaining side and in the escape. («All that is solid vanishes in the air»). Such has been Sandra’s persistent dilemma: seeking the uncertainty and promise embodied in utopia, or remaining stuck in the hopelessness and «the dirty puddles» of that same utopia. Over the past several years, Sandra has spent a considerable part of her time living in the United States. As a deeply committed artist, she has also expanded and deepened her areas of reflection and engagement. It is therefore not surprising that part of her work flourishes on her cultural, social and political observations, as well as the visual codes of this and other countries, especially in their relation with Cuba. Sandra’s works for Expo-Chicago are grounded on the Aristotelian axiom that man is a political animal. The series she presents here are based in ideological differences and tensions. She resorts to the power ball to talk about our voluntary insertion and subjection into frameworks of domination through delight: the way in which politics are designed as a game, a captivating spectacle that provides us with distraction. Portraits, videos, and objects (the face of a politician or an established public figure is drawn on all of them), as well as an interactive ping pong table constitute Sandra’s offering for the galería nina menocal space. Public collections: Museo Nacional de Cuba, Havana; Museum of Modern Art (MoMA) NY; Art Museum of Arizona State University (ASU), AR; Canvas Art World, Amsterdam; Casa de las Américas, Havana; Fuchu Art Museum, Tokyo; Ludwig Forum für Kunst, Aachen: Museum of Latin American Art (MoLAA), Long Beach, CA; National Royal Museum of Art, Ontario; Thyssen-Bornemisza Art Contemporary, Vienna.
  • available works on artbco

    Untitled

    USD 3,000 / USD 0

    Cielos

    USD 15,000 / USD 0

    The Urban Zoo

    USD 15,000 / USD 0

    Drug & Madness Series

    USD 3,000 / USD 0

    Drug & Madness Series

    USD 3,000 / USD 0

    Drug & Madness Series

    USD 3,000 / USD 0

    Drug & Madness Series

    USD 3,000 / USD 0

    Untitled

    USD 3,000 / USD 0

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