The collection forms a grand tableaux, where Ramó translates his experience of displacement outside of his country, just under two years ago, finally settling in Berlin. Through each work, he weaves a narrative centered on conflict and extreme situations. This is emphasized by the presence of threatening sharp objects that appear in most of the works, which in turn suggest, as the artist notes, "this sacred relationship between eroticism, death, and spirituality, which I see as connected to sacrifice, pain, faith, discipline, training, and the primitive impulse to take the space of the other." In this cycle of paintings, something timeless and relentless is metaphorized: the human drama and its excess, presented here as a theatrical spectacle.

Ramó elaborates on this historical moment we find ourselves in, and on the "almost domesticated cruelty to which we have grown accustomed...," emphasizing the central theme that occupies him: "Tragedy, the eternal struggle, or this act, round, or performance where its permutations seem to merge with time. We keep fighting, we are fighting, and we will keep fighting; we continue searching for spectators to entertain... the show doesn't end, the roles are reversed depending on who is the trainer. In this process, we mutate into 'superhumans' or 'subhumans,' and along the way, this infinite cycle leaves everything tangled in its passing."

Rodolfo Kronfle Chambers

Curator