459H x 305W x 3D cm (180 x 120 x 1.2 inches)
Ramirez’s The International Sail is the fifth in a series that features an upside-down worn out, mended and fragmented boat sail. These works epitomize the idea of perpetual movement and migration while carrying a deep personal meaning in the creative process, as the artist’s father himself, still living in Chile, mends and sends the sails to his son, living in Europe. The reversed position of the sail recalls both the shape of South America itself and the Eurocentric view that in the Southern Hemisphere, everything is “upside-down.” The stitches themselves create an illusion of an alternative political geography, and the framed-cuts impose a cartographic grid.
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.
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...
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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 ...
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...
Glenn Ligon’s diptych, Condition Repor t is comprised of two side-by-side prints...
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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 ...
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...
In SEA STATE 6 Charles Lim takes the viewer down the Jurong Rock Caverns in Singapore, a massive underground infrastructure for oil and fuel storage, built to support the commercial operations of oil traders, petrochemical ventures and manufacturing industries in the area...
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In 2009, Laura Henno began research in the archipelago Comoros for her first film Koropa the first episode of a triptych— completed in 2016...