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FOR ALL
Sara Ramo’s installations convey mixed feelings. “Painful”, in the artist’s own words, her sculptures are filled with allusions to suffering and uncertainty, to that which falls and twists language. Conceived as a card game, Throwing Stones invites us to make our own connections
between objects, uniting different points and clues that guide us through apparently random numbering. Titles such as Sudden disorder, Cannon fodder or Intractable, offer a poetic/political vocabulary that, in a non-literal manner offer comments on the world and the language that names it.
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FOR ALL
ROOM 4
Throwing Stones
In her work the artist takes a stance against a certain type of hegemonic knowledge and the oppressions that it produces, but which do not derive from a morality, but rather from the tortuous, “failed” and indecisive appearance of volumes and materials. We also find older works
by Sara Ramo that, she has continuously cut and rearranged, thereby generating an economy that takes advantage of her previous works. The artist states:
“And everything fits. The exclusion of the trash that has been generated is not necessary. It is a vital matter to make them our own. Mine and yours: resistant generators. This metamorphosis will be endorsed by the tension between what lives and dies, all included, and also what suffers and causes suffering. The invented things, the secret mythologies of the worlds to be opened, will each time be a new beginning, in a circle. So; without any conclusion. There are fake rocks, slippers, dried excrement, curtains on the windows, a glove, a sweet wrapper, cardboard. It doesn›t matter, everything is material and alive”. (Sara Ramo)
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