13:00 minutes
Enrique 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 . Other well known works by Ramirez feature the movement and endless symbolism of the sea—like the simultaneous engagement and retreat of the tide—but La Memoria Verde takes the land, plant life, and its human inhabitants as its subject. The film begins with a soft, green, algae-like image that waxes and wanes in focus, then gives way to swaying treetops blowing in a soft wind. The calls of jungle insects and other fauna blend with intermittent notes played by a man on a saxophone, and the landscape on the ground, invoke lush, fertile, deep greens as if to color even the brass-made timbre. A woman describes, in a soft but deliberate whisper, a series of declarations that cite the plight of the land and the immigrant, the task of memory and of identity, of resistance and survival. La Memoria Verde calls upon the vibrant but dreamlike imagery of unstable memories, drawing the viewer into a hazy world encompassed by low light and dark hue. The work explores a verdant world through sight and sound, navigating the surviving variations of life, both human and rooted. Using lushness and overgrowth as a gesture of assertion and resistance, Ramirez connects the constant conflict and fluctuation of survival that both nature and man have in common. The film tells of imprinted traumas and the ways in which they become visible as scars, or manifest in movements that either protect or enhance their memory. In La Memoria Verde these gestures consume both flora and fauna.
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.
Ramirez’s The International Sail is the fifth in a series that features an upside-down worn out, mended and fragmented boat sail...
These 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...
The 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...
The photograph Exquisite Eco Living is part of a larger series titled Executive Properties in which he digitally manipulated the images to insert iconic buildings of Kuala Lumpur in the view of derelict spaces also found in the city...
The 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 ...
Created for the tenth Lyon Bienniale, in Days of Our Lives: Playing for Dying Mother, Wong’s ongoing negotiation of postcolonial globalization takes aim at French society...
In establishing a deliberate distance between viewer and subject, Lassry raises questions about representation itself and how all portraits are, in effect, fully constructed objects that only gain meaning once we ascribe them with our own personal associations and emotions...
These 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...
The 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...
Martinez’s sculpture A meditation on the possibility… of romantic love or where you goin’ with that gun in your hand , Bobby Seale and Huey Newton discuss the relationship between expressionism and social reality in Hitler’s painting depicts the legendary Black Panther leaders Huey P...
For I use to eat lemon meringue pie till I overloaded on my pancreas with sugar and passed out; It seemed to be a natural response to a society of abundance (1978), also known as the Bodybuilder series, Martinez asked male bodybuilding competitors to pose in whatever position felt “most natural.” They are obviously trained in presenting their ambitiously carved physiques, but their facial expressions seem comparatively unstudied...
Days of Our Lives: Reading is from a series of work was created for the 10th Biennale de Lyon by the artist...
For his series of digital collages Excerpt (Sealed)… Rhodes appropriated multiple images from mass media and then sprayed an X on top of their glass and frame...
The image is borrowed from protests during Civil Rights where African Americans in the south would carry signs with the same message to assert their rights against segregation and racism...
Like many of his other sculptural works, the source of I am the Greatest is actually a historical photograph of an identical button pin from the 1960s...
This photograph is part of the series titled “Iris Tingitana project” (2007) focusing on the disappearance of the iris...
In his composition, Chocolate Bars, Eggs, Milk, Lassry’s subjects are mirrored in their surroundings (both figuratively, through the chocolate colored backdrop and the brown frame; and literally, in the milky white, polished surface of the table), as the artist plays with color, shape, and the conventions of representational art both within and outside of the photographic tradition...
Untitled (Grate I/II: Shan Mei Playground/ Grand Fortune Mansion) is part of a series drawn from architectural objects that mark the boundary of public and private spaces Wong encountered while strolling in Hong Kong...
The Last Post was inspired by Sikander’s ongoing interest in the colonial history of the sub-continent and the British opium trade with China...
Invited in 2007 to the Museum Folkwang in Essen (Germany), Simon Starling questioned its history: known for its collections and particularly for its early engagement in favor of modern art (including the acquisition and exhibition of works by Cézanne, Gauguin, Van Gogh, Matisse), then destroyed during the Second World War, the museum was pillaged for its masterpieces of ‘degenerate art’ by the nazis...