Entering the exhibition each visitor meets the first work made by Alfredo Ramirez that immediately projects into an elsewhere place. The mean is simple: Milan public transport tickets useless. Used tickets that have exhausted their function, with the magnetic strip with no more value. On the back, in a size that seems to be a vertical golden ratio, there is a white virgin area. Space where inventions are encouraged to flourish. The support is rigid enough and the surface smooth so as to allow the pen to be comfortable and to proceed into those journeys that were considered concluded. The dismissed ticket comes back to life.

Ramirez projects visions of acrobatic architectures, tiny “fantasy land” on those small white rectangles with a slight, accurate, sometimes obsessive mark. When he was in Venezuela, his homeland, those visions were transformed into daring monuments that marked symbolically important places in Caracas. Nevertheless, now that he is hereby exiled, the imagination is forced into the few centimetres of the ticket and use this as a means to a boundless destination. An operation with a significant conceptual coherence. An artist cannot be seen as a prisoner, he knows that “it is never early at sunrise”, the (beautiful) way this work title sounds in Italian, evidence how the shift is not only spatial but also temporal. There is always a free space before like a safe zone. And it is not a coincidence that Ramirez has dedicated to himself this work as a “resilient” artist, at his 60 years old conclusion.

Just around the corner, the journey from centrifugal turns into centripetal.

The line of Ramirez is subject to a transformation. Before it was engraved, but driven towards an elsewhere. Now the engraving comes into the body of the support. It is not a casual transformation, because the elsewhere is no longer a visionary horizon, but it has been realized into the present bodies. Now imagination instead of running away is penetrating. Digging into the bios, to look for a logic in these microcosms where imperfections reveal their perfection. Ramirez knows about it. His body is covered by scars, whose fibres were revealed cruelly. They have seen, as he said, the fever of light. In the second corridor,  looking at the large female shapes on the wall, we realize the cutting is translated into flawless graphics.

The shape reveals inner geometric energy that the eye cannot catch and reap from outside, which grasps an order also in the diseases (Siamese hearts).

“I have learned geometry as a tool to give rule and size to what you feel or build”, Ramirez said.

In case Ramirez was performing as a Western artist, the geometry would be transformed into a prevaricating practice.  But he is from South American and the totems are the basis of his geometry, the great Aztec stones capable of crystallizing the plant in elementary rhythms. This is a kind of geometry where logic will be measured with the unrevealing mystery of an intimate ritual.

The transition to the great spiders confirms this nature.

The sequence includes the solemn support of velvets, a baroque scene suitable to welcome ancestral visions. Composing opposites, respecting an established call to order. They are desert spiders, treacherous creatures reflected into a harmonic rigour, as an apotropaic function.

They are seen from above, like the great line spider of Nazca, a creature of the ground, moreover traced in the ground, but with an absolutely cosmic symbolic projection. “Complex celestial machines”, to use Ramirez’s words.

Experiencing the time, they have expanded to modernity. In the last corridor, the visitor is in a cul de sac: the space is closed by the last big spider, engraved with relentless detail.

Ramirez emphasizes the eternal circularity of art, which always comes back to the point where chaos becomes order and order becomes chaos.

Giuseppe Frangi

Exhibition curator


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