Naufus Ramírez-Figueroa, Corazón del Espantapájaros (detail), 2016. Aquatints ed. 1/10. Courtesy of the artist.
Naufus Ramírez-Figueroa: Corazón del espantapájaros (Heart of the Scarecrow)
February 14 - March 3, 2018
Working with performance, sculpture and drawing, Naufus Ramírez-Figueroa’s practice evokes symbols, sounds and gestures that have been lost to history, to politics and to memory. He often draws from literary and poetic sources to create a constellation of tragic, comedic and mystical traces.
Corazón del espantapájaros (Heart of the Scarecrow) is the third iteration of a serial project that explores the historical reverberations of Guatemalan playwright Hugo Carillo's 1962 script El corazón del espantapájaros (The Scarecrow's Heart) and its oblique interpretation by students at El teatro de la Universidad Popular de Guatemala in 1975. The students' highly stylized satirical portrayal of juridical archetypes provoked one of the most severe censorships of the arts during the Guatemalan Civil War (1960-1996).
For this iteration, Ramírez-Figueroa will focus on the central character and namesake of the play, and query, "Who is the Scarecrow and what is its heart?" Working with a contemporary interpretation of Carillo's script by Guatemalan poet Wingston González, Ramírez-Figueroa's solo performance will take up a breadth of symbolic and material interpretations of the scarecrow and the heart, as form and force. His exhibition will also consider the endurance of artistic production in tumultuous times, the political efficacy of education, and the long-term effects of censorship on bodies, geography and culture.
Corazón del espantapájaros (Heart of the Scarecrow) was previously performed by an ensemble cast in the 2017 São Paulo Biennial, and "A Universal History of Infamy" at LACMA for Pacific Standard Time: LA/LA 2017.
Ramírez-Figueroa's recent solo exhibitions at CAPC musée d'art contemporain de Bordeaux and DAAD Galerie, Berlin (2017); and Gasworks, London (2015); and group exhibitions at São Paulo Biennial, Venice Biennale and LACMA, Los Angeles (2017); Lyon Biennial and EFA Project Space, New York (2015). He has participated in performance series at the Solomon R. Guggenheim Museum (2017); KW Institute for Contemporary Art, Berlin (2016); and Tate Modern, London (2015). Ramírez-Figueroa is a recipient of the Mies van der Rohe Award (2017); and a DAAD fellowship (2015-16). He holds a BFA from Emily Carr University, Vancouver, an MFA from the School of the Art Institute of Chicago. He lives and works in Berlin and Guatemala City.
Supported by the Canada Council for the Arts and grunt gallery. Naufus Ramírez-Figueroa will also have an exhibition, The Corpus Cycle, at grunt gallery from February 21 to April 21, 2018. Please click here for more information.
Curated by Amy Kazymerchyk
This project is part of Of Bodies, On Land, In Time, a three-year SFU Galleries series that foregrounds performative, process-based and embodied practices that attend to the social, political and economic pressures that impact people, land-relations, and material and immaterial culture.
Wednesday, February 14, 7 - 9pm
February 14, 1 - 5pm
February 15, 1 - 5pm
February 16, 1 - 5pm
February 17, 1 - 5pm
Saturday, February 17, 6pm
The Corpus Cycle Opening Reception
Wednesday, February 21, 7 - 9pm
grunt gallery, #116 - 350 E. 2 Ave. Vancouver
Panel Conversation: Performing Intertextuality
Thursday, February 22, 7pm
Panelists Sabeth Buchmann and Alma Ruiz, moderated by Peter Dickinson, will consider how artists read history through literature, literature through performance, performance through history. The cultural and socio-geographic contexts within which Denis Diderot and Hugo Carillo wrote will be discussed, alongside the current cultural and social climate within which Ibghy, Lemmens and Ramírez-Figueroa revisit their texts.