Naufus Ramírez Figueroa

  • In Naufus Ramírez Figueroa’s performative practice, narrative and its corresponding sculptural props play a major role in weaving together pre-Columbian civilizations, seditious brotherhoods, evangelism, and imperialism. In an unsettling dream-like fashion, many of his works operate as non-narrative fictions that depart from his personal experience of Guatemalan history—particularly the country’s civil war that ran from 1960 to 1996 and in which members of his family took an active part—but always distancing himself from a documentary take on history. Thus, the artist creates fable-like situations, which mix memories and visions from his childhood with the right dose of pathos and humor, and that address further cultural and political events such as the war’s genocide of Mayan populations, the infiltration of Mormon missionaries in the country, and the contemporary followers of apocalyptic conspiracies.

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Naufus Ramírez Figueroa

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In Naufus Ramírez Figueroa’s performative practice, narrative and its corresponding

sculptural props play a major role in weaving together pre-Columbian civilizations,

seditious brotherhoods, evangelism, and imperialism. In an unsettling dream-like fashion, many of his works operate as non-narrative fictions that depart from his personal experience of Guatemalan history—particularly the country’s civil war that ran from 1960 to 1996 and in which members of his family took an active part—but always distancing himself from a documentary take on history. Thus, the artist creates fable-like situations, which mix memories and visions from his childhood with the right dose of pathos and humor, and that address further cultural and political events such as the war’s genocide of Mayan populations, the infiltration of Mormon missionaries in the country, and the contemporary followers of apocalyptic conspiracies.