Yapci Ramos

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.

Selected Works

Monumenta

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

Installation view at Museo de la Naturaleza y Arqueología, 2022, Tenerife. Nine 3-D printed sculptures and sound, 28’09”
Monumenta. Nine Guanche Embodiments. Work in process
Canarian anthroponyms “Cathaysa. Sold indigenous”
Territory exploration, Anaga, Tenerife

Cima

I look at the rock art paintings that remain of the aboriginal past before Spanish conquest in Canary Islands, whose function and meaning remain unknown. According to oral culture, however, these pictorial motifs would have spiritual purpose: in the Guanche communities they were considered sacred forms.

Monotype on paper, 11 x 7 inches, 2022
Art Omi's Monotype Project, New York, 2022

Can the eruption in La Palma trigger a tsunami in New York?

I took soil from the Tajogaite volcano from La Palma to mark an ancestral Mohican area in New York. Volcanic ash is also the best fertilizer. The symbol comes from indigenous cave drawings from my homeland.

Art Omi's Performance, New York, 2022
Infographic on the hypothetical consequences of a possible eruption in La Palma
Art Omi's Performance, New York, 2022
Art Omi's Performance, New York, 2022

Guayec

I am the voice that arises from within me, a link between my Guanche origins and my essence.

Guayec video work in process, Barcelona, 2021
Installation view at FLUX festival de vídeo d'autor, Arts Santa Mònica, Barcelona, 2021. Single channel video, 4’04’’. Dimensions variable

Lloro

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.


Nora Navarro / Cultural Writer

Installation view at Espacio Cultural El Tanque, Tenerife, 2021. Ten-channel video installation, continuous running. Dimensions variable
Work in process at The Watermill Center - a laboratory for performance, New York, 2020

Identity

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

Tío Manolito, 1977-2018. Lenticular photograph, 120 x 150 cm
Bisabuela, 1931-2019. Lenticular photograph, 33 x 50 cm
Papá, 1970-2019. Lenticular photograph, 120 x 150 cm
Work in process, family exploration

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

Installation view at CAAM Centro Atlántico de Arte Moderno, 2019. Nine lenticular photographs

Freedom

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.

Territory exploration, Parque Nacional del Teide, Tenerife
Sound installation, 5’09’’. Dimensions variable
Territory exploration, Parque Nacional del Teide, Tenerife

Red-Hot

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.


Justine Ludwig / Executive Director of Creative Time

Installation view at TEA Tenerife Espacio de las Artes, 2018. Eighteen-channel video installation, 12’05’’. Dimensions variable

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

Installation view at Catinca Tabacaru Gallery, New York, 2018. Eighteen-channel video installation, 12’05’’. Dimensions variable
Installation view at CAAM, Gran Canaria, 2019. Two-channel video installation, 27’51’’. Dimensions variable

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.


Simon Njami / Writer, Art Critic and Independent Curator

Installation view at TEA Tenerife Espacio de las Artes, 2018. Three-channel video and mural photographs. Dimensions variable

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.


Lilly Wei / Independet Curator and Critic

Installation view at TEA Tenerife Espacio de las Artes, Tenerife, 2018. Single-channel video, 4’50”. Dimensions variable
Filming process from Bushes in the Night, Anaga, Tenerife.

Perras

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.”


Barbara Polla / Art Curator and Writer

Installation view at TEA Tenerife Espacio de las Artes, Tenerife, 2018. Ten photographs, 80 x 120 cm, and single-channel video, 2’08’’

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

Installation view at TEA Tenerife Espacio de las Artes, Tenerife, 2018. Six-channel video installation, continuous running. Dimensions variable

Catalog

Yapci Ramos: Show Me. Know Us. Welcome Her.