Yapci Ramos explores identity, sexuality, and territory by creating multimedia installation works. Her work is emotional, physical, and introspective, frequently using her own body to channel the taboos, rituals, and catharsis that constructs the experience of being.
Monumenta is based on encouraging the debate around the survival of a series of idealized symbols and images as the only parameters for the construction of cultural heritage, in which the body of the artist herself converts into a channel and terrain of creation to promote reflection on the historical-artistic heritage from a more wide and critical perspective.
Nora Navarro / Cultural Writer
I am the voice that arises from within me, a link between my Guanche origins and my essence.
Few emotions elicit as much violence and empathy as crying. Lloro, an altar that elevates our fragility to the antipodes of the social taboo that still weighs on the different manifestations of the intimate.
Why are the way we are? What weight does family have over an individual? Is it there such a thing as a subconscious trans-generational legacy?
Yolanda Peralta / Art Historian, Curator, Researcher
Like an archaeologist, she is excavating the traces, genetic and otherwise, of her ancestors; unearthing “treasures” and boldly appropriating them for her own poiesis—her auto-poiesis.
Barbara Polla / Art Curator and Writer
It is a collision between the recorded song of a real bird in Tegucigalpa and the artist’s whistle which alludes to the Silbo Gomero, a system of whistles from Guanche culture. One of Freedom’s birds is “free” while the other is not.
Dillon Cohen / artist, writer and impact investor.
For over two years, every month, Ramos took on this ritualistic action of creation and destruction. In producing Red-Hot, Ramos places herself front and center in conversations around female empowerment—as a woman, in control of her body, her voice, and her own destiny.
It also conjures ancient rituals and religions centred on the Canaries’ aboriginal worship of the mother goddess, the Earth and the magical power of blood, with purification rites that included cleansing in the sea in preparation for birth and renewal.
Lilly Wei / independent curator and critic
Back & Forth
Ramos meets up with her friends ten years later and asks them to take stock of their lives. This desperate attempt to collect scattered pieces, emotions, anger, fears, discoveries, disillusion and happiness, that make up the biography of a contemporary being.
Bushes in the Night
A lulling video about several varieties of plants less fraught. In the form of a documentary, it tells us about the sexual perverseness of flora, remarkably similar to that of their human counterparts.
Yapci Ramos looked at prostitution with a particular gaze, a tender and inclusive gaze—neither moralistic, nor judgmental, nor sordid. A gaze and images that say: “She could be me, I could be her.”
I Don’t Mind
The artist undermines the onslaught between the private and the public to propose the return to a body-subject that produces itself and connects with its own jouissance.
Marta Mantecón / Cultural Manager and Art Writer
The experience thus lived by the spectator returns us to the uniqueness of the orgasm which, specific to each individual, is nourished by all that constitutes our intimacy: desires, fantasies, etc., and of the active part which presides over the existence of this pleasure.
Is it innocence or precocity we see in it, that allows her to pose herself as an illicit sex object? How did Lolita become so expert in the art of maquillage? What might be the consequences of such early sexualisation?