Andrés Ramirez, 63.193(x), Elleipsis through full light, 2016
Production Passerelle Centre d’art contemporain, Brest, dans le cadre de l’exposition collective “Naturally Obscure”
© photo Aurélien Mole, 2016

Born in Bogota (Columbia), in 1981, Andrés Ramirez lives and works in Paris. After graduating from the École Nationale Supérieure des Beaux-Arts de Paris in 2008, Andrés Ramirez follows the Postgraduate Research Programme La Seine and takes part in a number of projects such as NK Zine presented in New York, Milan and Rome. In 2011, he presents his work at the 56th Salon de Monrouge, and the following year he is invited for a residency at Fondation d’Entreprise Hermès. Between 2013 and 2014 he presents his work at the Palais de Tokyo, at EXO (Paris), at the Parc-Saint-Leger, at the Hermès Foundation in Seoul, and at TLÖN (Nevers). In 2015 hi presents two solo show at the Galerie Escougnou-Cetraro and at EXO (Paris). In january 2016 he shows his installation R-O-R’ / befriending with spirits, at the 66th exhibition of Jeune Création at the Thaddeus Ropac Gallery, Paris-Pantin. In 2016 he will take part of the group show « Naturally Obscure » at Passerelle Contemporary Arts Center of Brest. 

Based on the analysis, reappropriation and diversion of industrial productions and visual communications paradigms, Andres Ramirez’s installation work assumes a poetic arbitrariness, some kind of spectral romanticism, almost psychotropical. His work builds on the hypothesis of a genuine heterogeneity in the artwork, a structural plurality. Therefore, the installations, sculptures or images he sets don’t answer for technical, aesthetic or conceptual issues in a direct manner, but do move into the gaps, or sometimes the tensions, that there are in between them. The various media he uses are in constant interaction and build complementary chains of production and development, aiming at composing what the artist calls an “infra-media”, in opposition to the idea of “super-media” most people endorse installation with. In Andrés Ramirez’s work, there is an unhierarchized intricacy (but clearly not anarchical, it is very well organized) between different aspects of minimalism and psychedelia, of high modernism and industrial design, of appropriation art and mathematical models, of industrial noise culture and academic painting. In his relationship towards industrial production’s machinery, the artist keeps the specific nature of technical shapes or contemporary communication, determined by symbolic efficiency needs, mechanical modularity and economic viability. These formal specificities are used and appropriated so as to define some incertitude; the shape reveals its purpose but is kept away from its subservience, given over to esthetic suspense and rearranged in an autonomous poetic order. Thus, the logotypes, architectonical structures or screen-paintings deliver their messages, their programmed contents, only in an encoded, elliptic and ambiguous way.

PRESS and TEXTS (selection)

Le Chassis - by Victor Mazière / 2016
Point Contemporain / 2016
Le Quotidien de l’Art - by Flora Katz – n.928 / 2015
Le Quotidien de l’Art  n.668  by Julie Portier / 2014
Géométrie des souffles amnésiques by Clara Guislain / 2014
Pensée plastique by Nicolas X. Ferrand / 2014