Un hombre que camina (A Man Walking)
- Film & Video (Film & Video)
Enrique Ramirez
In Un Hombre que Camina (A Man Walking) (2011-2014), the sense of rhythm and timing is overpowered by the colossal sense of timelessness of this peculiar place. Shot in Uyuni, Bolivia, the film depcits world’s largest salt flat, a site that sits in a mountainous region at over twelve thousand feet above sea level. Ramirez’s work is deeply invested in the loss of regional identity, and the anachronistic dress of his “modern-day shaman” in the film is meant to reconcile the historical and cultural gaps between tribal traditions of a specific time and place and the all-too-prevalent homogeneity brought on by advanced capitalism. His festive yet ominous ceremonial mask, by extension, functions as a relic of colonial resistance: made by native coal miners to ward off Spanish invaders, the mask signals a need both past and present to preserve rituals passed down through future generations and across cultural genealogies.
Enrique Ramirez’s highly politicized practice engages both personal recollections and gathered stories, questions notions of exile, displacement, loss of memory, and a changing sense of place. Growing up in Santiago, Chile, his father was a sail-maker and Ramirez’s process often returns to the sea to bolster his investigations of movement, discovery, and geo-politics. The artist describes art and filmmaking as methods to communicate the ways society moves in cycles, sometimes backward and sometimes forward, especially regarding issues of immigration, border politics, and national identity. His seductive films and installations are sites of contemplation and imagination in their depiction of boundless space and expansive landscapes.
Colors:
Related works featuring themes of: » Black-and-White Photography, » Collective History, » Color Photography, » Conflict, » Chilean
» see more
© » KADIST
Shilpa Gupta
2014These hand drawn maps are part of an ongoing series begun in 2008 in which Gupta asks ordinary people to sketch outlines of their home countries by memory...
© » KADIST
Shilpa Gupta
2008The three monkeys in Don’t See, Don’t Hear, Don’t Speak are a recurring motif in Gupta’s work and refer to the Japanese pictorial maxim of the “three wise monkeys” in which Mizaru covers his eyes to “see no evil,” Kikazaru covers his ears to “hear no evil,” and Iwazaru covers his mouth to “speak no evil.” For the various performative and photographic works that continue this investigation and critique of the political environment, Gupta stages children and adults holding their own or each other’s eyes, mouths and ears...
© » APERTURE
An-My LE
For the past two decades, An-My Lê has used photography to examine her personal history and the legacies of US military power, probing the tension between experience and storytelling....
© » KADIST
Bani Abidi
2008The threshold in contemporary Pakistan between the security of private life and the increasingly violent and unpredictable public sphere is represented in Abidi’s 2009 series Karachi ...
Other related works, blended automatically
» see more
© » KADIST
Enrique Ramirez
2017Ramirez’s The International Sail is the fifth in a series that features an upside-down worn out, mended and fragmented boat sail...
© » KADIST
Shilpa Gupta
2014These hand drawn maps are part of an ongoing series begun in 2008 in which Gupta asks ordinary people to sketch outlines of their home countries by memory...
© » KADIST
Shilpa Gupta
2008The three monkeys in Don’t See, Don’t Hear, Don’t Speak are a recurring motif in Gupta’s work and refer to the Japanese pictorial maxim of the “three wise monkeys” in which Mizaru covers his eyes to “see no evil,” Kikazaru covers his ears to “hear no evil,” and Iwazaru covers his mouth to “speak no evil.” For the various performative and photographic works that continue this investigation and critique of the political environment, Gupta stages children and adults holding their own or each other’s eyes, mouths and ears...
© » KADIST
An-My LE
2010The print Patient Admission, US Naval Hospital Ship Mercy, Vietnam (2010) features an Asian Buddhist monk and an American Navy Solider on board the Mercy ship –one of the two dedicated hospital ships of the United States Navy– sitting upright in their chairs and adopting the same posture...
Related works sharing similar palette
» see more
© » SLASH PARIS
Antoni Tàpies — Les Armes d’Éros — Lelong & Co Gallery — Exhibition — Slash Paris Login Newsletter Twitter Facebook Antoni Tàpies — Les Armes d’Éros — Lelong & Co Gallery — Exhibition — Slash Paris English Français Home Events Artists Venues Magazine Videos Back Antoni Tàpies — Les Armes d’Éros Exhibition Painting Antoni Tàpies, Gran triangle, 1990 Peinture et vernis sur toile — 285,5 × 390,5 cm Courtesy galerie Lelong & Co...
© » KADIST
Edward Kienholz
1984Untitled (San Francisco) was made in Idaho in 1984 and was facetiously dedicated to Henry Hopkins, the then director of the San Francisco Museum of Art who added “modern” to its name...
Other works by: » Enrique Ramirez
» see more
© » KADIST
Enrique Ramirez
2017Ramirez’s The International Sail is the fifth in a series that features an upside-down worn out, mended and fragmented boat sail...
© » KADIST
Enrique Ramirez
2019Enrique Ramirez’s La Memoria Verde is a work of poetry, politics, and memory created in response to the curatorial statement for the 13th Havana Biennial in 2019, The Construction of the Possible ...
Related works found in the same semantic group
» see more
© » KADIST
Polina Kanis
2011In the seminal video Workout , Kanis looks at the phenomenon of exercise in public space—specifically aerobics exercises in parks around Moscow today—as a broader lens for thinking about generational change...
