Jose M. Ramirez

No Ávila
Location: Weston
Nationality: Venezuelan
Biography: Born in Caracas, Venezuela. Artist, teacher, researcher and consultant. His work has been shown in multiple collective exhibitions: among them the Art Hall of Aragua, the Arturo Michelena Room, the Velada Santa Lucía. He has exhibited... read on
Public Story
No Ávila
Copyright jose m. ramirez 2021
Date of Work 02/05/13 - 06/26/13
Updated 10/24/17
This photographic series addresses the definition of the city through the presentation of an apparent antagonism between two icons: El Cerro Avila and the Cerro de Petare. More than a denial of Avila as a city's referral, what is presented is the presentation of a visual alternative that defines it beyond the mere geographic milestone.
Both brackets are conforming from similar natural dynamics, one that obeys biological processes and one another to social processes. The photograph can give visual order to that apparent chaos and allow us to reflect on that landscapely codified reality, exceeding the prejudice that makes us look for one of the images and avoid the other.
No-Avila uses a landscaping approach to Petare and, coupled with the aesthetics of mobile photography, it is intended that we retrieve images of our transit that we usually filter or avoid. In this way, what seems to merely formalizes us challenges: the impossibility of Ávila without the No-Ávila and the urgent need to redefin our daily landscape.
Esta serie fotográfica aborda la definición de la ciudad a través de la presentación de un aparente antagonismo entre dos iconos: El cerro el Ávila y el cerro de Petare. Más que una negación del Ávila como referente de la ciudad, lo que se plantea es la presentación de una alternativa visual que define a la misma más allá del mero hito geográfico.
Ambos cerros se van conformando a partir de dinámicas naturales semejantes, una que obedece a procesos biológicos y otra a procesos sociales. La fotografía puede dar orden visual a ese caos aparente y permitirnos reflexionar sobre esa realidad codificada paisajísticamente, superando el prejuicio que nos hace buscar una de las imágenes y evitar la otra.
No-Ávila usa una aproximación paisajística de Petare y, unida con la estética propia de la fotografía móvil, pretende que recuperemos imágenes de nuestro transitar que usualmente filtramos o evitamos. De esta forma lo que en apariencia es meramente formal nos impone retos: la imposibilidad del Ávila sin el No-Ávila y la imperiosa necesidad de redefinir nuestro paisaje cotidiano.

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