Preludes, 1, 2, 3, 4, 5
Partial Shade and Co-Lab Projects are pleased to present Preludes, a multi-media installation by Alicia Link and Stephanie Concepcion Ramirez in response to A Platform.
In their installation Preludes, Alicia Link and Stephanie Concepcion Ramirez imagine a place where their mothers meet for the first time. Fixed to Partial Shade’s Platform two “upholstered” pillars support a swath of material that will feature video(s) during designated viewing times. The screen doubles as a sail alluding to past histories of both women. Surrounding the platform woven scraps of fabric sparkle, sprawl, soften, and contrast the inherent flux of the landscape. Objects in the space serve as props and prompts presenting a give and take with the audience acting as a witness to this exchange. In mimicking the actions of their mothers, Link and Ramirez attempt to carefully understand the complexities of motherhood while carving a space for those nuances to take form. Preludes acknowledges the profound impact the artists’ mothers have on their work and examines how one of the most fundamental relationships can grow or wither with time.
Images are from two separate bodies of work Her and what was right, 2014-2015
For those seeking...(Aid, Success,
Through conversations with my mother, empathy and research these twelve 1” gifted worry-dolls were repurposed using intentions, prayers and energy as supportive materials that reflect aspirations of many Central American migrants making the trip north. Buried only a few inches beneath the earth or tucked into a crevice of the space these dolls held those aspirations throughout the duration of the event. Afterwards, they were sought out and dug out for documentation. Some were unretrieveable.
were friends/foes now foes/friends 1, 2, 3, 4, 5, 6 projects
You can judge the moral fiber of a political regime…. by the degree of danger they consent to.– Roque Dalton (Salvadoran Poet)
Ramirez has carefully selected and employed materials to confront the inconsistency of narratives in our cultural history that uphold the suppression of knowledge relating to Central American conflicts. Stemming from the language of photography, Round VI: were friends/foes now foes/friends isolates color and light to materialize images that illustrate the fragility of history and how it is passed on or disseminated across time. In all, Ramirez’s installation confronts participation and the physicality of lingering presence to speak about the sifting of history–the ghosts of memories left from Central American conflicts.