Sara Ramo’s exhibition Cartas sobre la mesa (Cards on the Table) presents sculptures, collages and interventions which, inspired by the Theatre of the Absurd, evoke with critical eye the structures that have conducted and still conduct Brazil’s and the World’s current social and political tensions.
The work that lends its title to the show is a series of ten collages made with fabric, pigment, and sewing that are strongly related to celebratory banners. Three of these pieces are part of the exhibition, such as lost cards drawn from a guessing game. When combined, the titles of each collage constitute a kind of poem or carnival march.
CARDS ON THE TABLE
1. To everyone’s faith, my mirror
2. To this land’s daughters and sons
3. Not such placid borders
4. There are untold stories
5. The emperor has no clothes
6. Silver spoons
7. Profit is not all there is
8. Celebrating matters
9. Joy moves us
10. Save the delusional...dream!
The issues presented by this political-poetic deck of cards pervades the exhibition’s atmosphere. In Contrato social (Social Contract), the artist balances fake stones on various types of metal rods while a real stone lies near the set, dropped on the floor. Detrito-origem (Detritus- Inception), are fake stones made of clay, soil, cement and encrusted money bills. The artist creates a geology of desire through a consumption bias here: the way money is ontologically structured in our experiences and relationships.
This interest in creating earthy and stagecrafted trails is reflected in the pieces Evidência and Buraco negro (Evidence and Black Hole). Whether in the former the artist brings about the verticalization of the ground – a soil made triangle shifted on the wall –, in the latter the action is reversed: Sara opens a cavernous hole in the wall, arousing curiosity and repulsion.
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Sara Ramo (1975. Madrid, Spain)
Sara Ramo works directly with the elements that define immediate daily life in order to reconfigure them into strange and foreign presences. The alteration of the natural order of things is not a simple formal exercise, for the artist this represents the possibility to create new structures of sensitivity. Ramo participates in a vast heritage from a cultural tradition that has confronted the utilitarian and scientific perspective of the modern world; incorporating notions from mysticism, mythology and magic, the artist questions the relationship between human beings and objects that are only determined by utility. Fracturing this paradigm, new narrative possibilities emerge, involving spatial and temporal consequences.
Her recent exhibitions include: lindalocaviejabruja curated by Manuel Borja-Villel, Reina Sofía Museum, Programa Fisuras (Madrid, ES, 2019); La Caída y otras formas de vida at Alcalá
31 (Madrid, ES, 2019); Cartas na Mesa, Galpão - Fortes d’Aloia & Gabriel (São Paulo, BR, 2018); Para Marcela e as outras, Capela do Morumbi (São Paulo, BR, 2017); Los Ayudantes, Travesía Cuatro (Madrid, ES, 2016); A mão negativa, Parque Lage (Rio de Janeiro, BR, 2015);Punto Ciego, EAC – Espacio de Arte Contemporáneo, (Montevideo, UY, 2014); Desvelo y traza, Matadero (Madrid, ES, 2013) & Centre d’lArt la Panera (Lleida, ES, 2013); Imagine Brazil, Astrup Fearnley Museet (Oslo, NO, 2013). Planos de Fuga, Centro Cultural Banco do Brasil (São Paulo, BR, 2012); Sin Heroismos, por favor, CA2M (Madrid, ES, 2012); Penumbra, Fundação Eva Klabin (Rio de Janeiro, BR, 2012).
The artist’s work has been shown in international exhibitions such as the XIII Bienal de La Habana, 2019; 33rd Biennal of São Paulo, 2018; the Panorama da Arte Brasileira at MAM-São Paulo, 2011; Sharjah Biennial 11, Sharjah, United Arab Emirates, 2013; and at the 2010 São Paulo Biennial; 9th Bienal do Mercosul, Porto Alegre, Brazil in 2013 and 2007; the Venice Biennale in 2009 and the 10th Anniversary of Inhotim, Belo Horizonte, Brazil.
Her work is part of international collections including: Pérez Art Museum of Miami, USA; Fundación Botín, Madrid, Spain; Banco de España, Madrid, Spain; Casa di Risparmio di Modena, Modena, Italy; Patrícia Phelps de Cisneros Collection (Miami, US); Coleção Gilberto Chateaubriant - MAM - Museu de Arte Moderna do Rio de Janeiro, Rio de Janeiro, Brazil; Coleção Itaú Cultural, São Paulo, Brazil; FRAC, Paris, France; Inhotim, Brumadinho, Brazil; Margulies Collection, Miami, USA; Carlos Mariano Collection, Lima, Peru; Museu de Arte da Pampulha, Belo Horizonte, Brazil; Pinacoteca do Estado de São Paulo, São Paulo, Brazil.
Sara Ramo lives and works in São Paulo, Brazil.
Entrada actualizada el el 30 ene de 2020
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