Andrés Ramirez — À propos — Slash Paris

In June 2017 takes place his second solo show at the Escougnou-Cetraro gallery. 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.