Enrique Ramírez : los durmientes
- con textos de Guillermo Cifuentes [and five others].
- Spanish, English. Parallel texts in Spanish and English.
- 1a. edición.
- Santiago de Chile : Ediciones Metales Pesados, 2018.
- Physical description
- 169 pages : illustrations (chiefly color) ; 23 cm
- Cifuentes, Guillermo, 1968- writer of supplementary textual content.
- Chile. Embajada (Argentina), host institution.
- Galerie HLM (Marseille, France), host institution.
- Museo Amparo (Puebla, Mexico), host institution.
- Museo de la Memoria y los Derechos Humanos, host institution.
- Galería Gabriela Mistral (Santiago, Chile), host institution.
- Palais de Tokyo (Museum : Paris, France), host institution.
- Lanzados al mar = Thrown into the sea / Guillermo Cifuentes
- El lecho de los durmientes = The resting place of the railway sleepers / Ticio Escobar
- La historia a la Vuelta de la esquina = History just around the corner / Néstor Olhagaray
- Bell UH-1D Iroquois = Bell UH-1D Iroquois / Coline Davenne
- El mar como lugar de memoria = The sea as a memory site / Florencia Battiti
- La gravedad = La gravedad / Coline Davenne
- Pacifico = Pacifico / Coline Davenne
- Conversación entre Marie-Thérèse Champesme y Enrique Ramírez = Conversation between Marie-Thérèse Champesme and Enrique Ramírez
- Los durmientes: el exilio imaginado = Los durmientes: the imaginary exile / Museo de la Memoria y los Derechos Humanos.
- Addressing pain, absence and terror, and to do it poetically, is not simple for a visual artist. To revisit the past with good will or a fierce political commitment is not enough to build a body of work that will move people, and also pose questions to reactivate the past critically and poetically. Usually, slapping a sleeping consciousness with bursts of expressivity and wrath does not yield good results. When horror presents itself as a mirror, without any mediation, without any metaphors, the work will not garner the spectatorœs empathy and he or she, irremediably, will withdraw, hide or escape. Quite on the contrary, the work of Enrique Ramírez is a balm, suggestive, without renouncing the necessary dose of discomfort and perplexity that questions the common place, the certainties and, even, the prejudice about the artistic production that alludes the recent past. For this young Chilean artist the potency of beauty is not in conflict with seriousness and respect for the issues he addresses. Thus, Ramírez reconstructs metaphors about his countryœs political history, contemporary migrations and the forced exiles that the power of global capital forces upon people, pushing them outside their nations or inside themselves, changing their identities, pushing unthinkable exchanges and deeply altering the perception and day to day life of millions. His work evidences social issues and his work is a meeting point for political and existential interests, but always being thought from the image, questioning and exploring the power of images to transform reality. In a sense, Enrique seems obsessed with narrating Chileœs political history through the landscape, a landscape scarred by loss, by voyages and displacements, but also by personal lucubration, imagination and the erratic wondering of the mind. In his films, the presence of the sea is almost unavoidable, like a condensor of meaning and as main narrative axis of his stories: ±I feel that, for Chileans, the Pacific Ocean is the real memory site, he says . Between "I do not make films," declares Ramírez, "I only occupy discipline as one more form of expression among thousands of narrative, plastic, political and poetictechnical and material procedures. An absolutism that, inherited from the modern autonomy of the media, pretends that they define the distinctive particularity of each category of artistic work, encased in a list of compartments and careful to mark its peculiarity. Thus, each medium, cataloged as "cinema", "video", "photography", "engraving", "installation", "objectual art", etc., claims its sovereign jurisdictions as if the work was not the product of contingent operations that they involve the sense, but the foreseeable result of pure instrumental devices.
- Publication date
- Title Variation
- "This book has been published on the occasion of the exhibitions: "Los Durmientes", 20 de octubre a 23 de noviembre 2014, premio 'amis Palais de Tokyo', Paris, Francia. "Brisas", 23 de julio al 11 de septiembre, 2009, Galeria Gabriela Mistral. ; "Los Durmientes: el exilio imaginado", 23 de abril a 23 de agosto, 2015, Museo de la Memoria y los Derechos Humanos, Santiago de Chile ; "Los Durmientes: encuentros latinoamericanos n 1, El tiempo, el ámbito, el mundo", 17 de octubre de 2015 a 8 de febrero de 2016, curada por Angeles Alonso, Museo Amparo, Puebla México. ; "Los Durmientes", 26 de junio al 17 de julio, 2016, Espacio HLM, Marsella, Francia. ; "Los Durmientes: mar dulce", 29 de marzo al 14 de mayo 2016, Centro Cultural MATTA, Embajada de Chile en Argentina"--Page .
- Related Work
- Ramírez, Enrique, 1979- Works. Selections.
- Enrique Ramírez.
- Enrique Ramírez. English.
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