Roxana Ramos
Bio
Roxana Ramos (Salta, 1978) is a visual artist; she holds a BA and a Teaching Degree in Fine Arts from the Universidad Nacional de Tucumán (UNT), a postgraduate degree in Cultural Management from the Universidad Nacional de Córdoba (UNC), and is currently a PhD candidate in Humanities with a specialization in Arts at UNT. She also holds a Diploma in Innovation and Creativity from the University of Salamanca (Spain).
She currently works as an artist, educator, and cultural manager. Her research focuses on the art of Salta and Latin American contemporary art. She also develops independent curatorial and cultural management projects and works in higher and university-level art education. She is Pedagogical Coordinator at the Escuela Provincial de Bellas Artes Tomás Cabrera and teaches at UCASAL.
In 2022 and 2021 she attended the Artists Program at Universidad Torcuato Di Tella. In 2019 she received the Creation Grant from the Fondo Nacional de las Artes and the Montessori Grant from the University of Salamanca. She has also received fellowships from Fundación Antorchas, Trama, the Rijksakademie, and the Fondo Nacional de las Artes (training).
She has studied with artists and thinkers such as Tulio de Sagastizabal, Graciela Sacco, Jorge Macchi, Valeria González, Eva Grinstein, Fabiana Barreda, Ana María Battistozzi, Pablo Siquier, Ana Longoni, Ana Gallardo, Marcos Figueroa, and Carlota Beltrame, among others. She has participated in national and international exhibitions curated by Marina De Caro, Adriana Almada, Javier Villa, and Rodrigo Alonso, among others. Between 2004 and 2014 she conceived and co-coordinated the contemporary art space La Guarda in Salta.
Her artistic practice develops through transdisciplinary approaches and collective artistic productions focused on social exploration. Her work is part of private collections and Argentine museum collections.
Statement
My artistic practice is connected to situated research as well as to forms of peasant labor. In both senses, the relationships between my body, the social environment, and the natural surroundings are constitutive. These practices are nourished by aspects of an undisciplined archaeology through which I attempt to revisit vestiges, understanding them as traces, lures, and contemporary symptoms that challenge and question me. To in-vestigate is to probe the remains, to enter into them; therefore, paraphrasing Alejandro Haber (2016), I place myself not only on the other side of the vestige but within it. This practice takes form through actions and performances in specific territories of the Andean Norte Grande; collaborative interventions with groups of workers, artisans, students, and family members; usable sculptural objects derived from archaic tools that are reused and reformulated; reactivations of memories of ancient labor and trades; drawings, among other forms and traces.
2.5 x 4m / 98.4 x 157 in
