Ramón Jiménez Cárdenas
(he/his) (b. Oaxaca, México)My work involves thinking with and against modernity, and mestizaje; thinking of myself as an artist whose subject matter is design, and how the western world is designed. I draw inspiration from the tropic and found objects that develop into functional works, installations, or moments to share research.
Also a curator at https://laclinica.art/
ramon.jimenez.cardenas@gmail.com
@for.opacity
CV available upon request
︎curatorial︎
Designers From the Flatland
Modernism Without Modernity
A Knife To Carve a Knife With
Disorientation Devices
︎object︎
La historia del equipal
The Extraction Before Us
Heteronormative Scents
Restoration no.1
Antilop
Mending Wall
︎writing︎
You Extract Me (performance)
Promiscuous Kinship (thesis)
Bedtime Stories (conversations)
A Knife To Carve a Knife With
26/08/2022 - 16/10/2022at La Clínica
participating artists:
Eunice Choi
Harry Dodge
Liam Wilson
Rachel Youn
Rame Cuen
Ramón Jiménez Cárdenas (curator)
Handout.pdf
Eunice Choi
Harry Dodge
Liam Wilson
Rachel Youn
Rame Cuen
Ramón Jiménez Cárdenas (curator)
Handout.pdf
"Materials never leave this world. They just keep recycling and recombining. That’s
what you kept telling me when we first met––that in a real mater ial sense, what is
made from where. I didn’t have a clue what you were talking about, but I could see
you burned for it".
The Argonauts, Graywolf Press, Minneapolis, MN, 2016, pp. 121–122.
Dear Eunice,
Subject: About the bricks in the fridge
Before “a knife to carve a knife with”, my father had some sculptures in the room, so I played with those as well. His bricks were previously flat on the floor like a tomb; laid in the shape of a Carl Andre work even though this wasn't his original reference. Rather his desire was to assemble a grave in which we stand and practice around. No-one's graves in particular, but someone/something who we —us who don't belong here— are in debt to.
For the rearrangement of the sculpture we both negotiated this debt. Instead of leaving it flat in the room as a reminder of itself, we ascend it into a vertical position, making it more obtrusive and more present, but also signifying repaying the debt —hence the shape of stairs— another Andre reference.
However, not all the bricks assembled neatly into the new thing, we were left with bricks that made the shape of the sculpture uneven, so we hid them in your fridge… I hope that's okay. Since the bricks represent debt, for us it was important that the same mass of the previous work remained in the same room.
Subject: About the bricks in the fridge
Before “a knife to carve a knife with”, my father had some sculptures in the room, so I played with those as well. His bricks were previously flat on the floor like a tomb; laid in the shape of a Carl Andre work even though this wasn't his original reference. Rather his desire was to assemble a grave in which we stand and practice around. No-one's graves in particular, but someone/something who we —us who don't belong here— are in debt to.
For the rearrangement of the sculpture we both negotiated this debt. Instead of leaving it flat in the room as a reminder of itself, we ascend it into a vertical position, making it more obtrusive and more present, but also signifying repaying the debt —hence the shape of stairs— another Andre reference.
However, not all the bricks assembled neatly into the new thing, we were left with bricks that made the shape of the sculpture uneven, so we hid them in your fridge… I hope that's okay. Since the bricks represent debt, for us it was important that the same mass of the previous work remained in the same room.
