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17.10/2015 – 08.02/2016

MUSEO AMPARO, Puebla, Mexico

In a disciplinary crossroads between cinema, video, arts, and narrative, where media and different forms dialogue, the work of Enrique Ramírez (Chile, 1979) has an impact in the hybridization of the contemporary world we are living in. Hybridization of the visual languages of art as well as the cultural and social references that support his creations.

An artist in a globalized world, his origins are the foundations of his work, as he points it out: “each person carries his own home”. Works like La invención de América, (1998-2013) or Al sur de América, (2012) refer to the Uruguayan painter Joaquin Torres García in his drawing América invertida (1943) with its political and philosophical implications. While the video Los durmientes (2014) reopens the pages of the dark years of Chile under the dictatorship, its summary executions and the victims of the forced disappearances.

Exodus and exile have also a preponderant place where the infinite flux of a population that is reduced to mere statistics contrasts with the internal movement of intimate dialogues and biographies. Works such as Horizonte (2009) o Cruzar un muro (2013) mise en scene lonely individuals looking for hope “to find a land, a house, a home, the heat… the protection”

In between poetics and documental realism, the works of Enrique Ramírez are above all an invitation to a travel, to the capacity to decenter and look from another side. To question the space, the geography and its cartographies with the arbitrariness of its politics and borders. To rethink history and its given discourses. To free the word through poetry proposing a plural and subjective reading of time, spirit, and the world.

by Ángeles Alonso

This post is also available in: Spanish