Human topographies

CARTAGO MUNICIPAL MUSEUM JANUARY 26 - MARCH 24 2019

ALE RAMBAR Email - alerambar@icloud.com Phone - (506) 7102 9293 Web - www.alerambar.com EDUCATION 2013

Architect - Véritas University, Costa Rica

2015 Postgraduate - Branding, vitrinism and commercial design - Véritas University, Costa Rica

Diploma - Program of professionalization of emerging artists - NODE Center, Berlín

2017

SOLO EXHIBITIONS 2019 Human topographies - Municipal Museum of Cartago 2018 The tolerance of paper - Center of Heredian Culture Omar Dengo.

2018

The tolerance of paper - Creativa University.

The tolerance of paper - National Gallery, Costa Rican Center of Science and Culture, Costa Rica.

2018

2018 Caribes - Qbico Creativo.

2017 The topography of a human body - Tamarindo Art Wave Festival.

2017 Human Geodesy

- Galerie Hior, Digital.

2016 Human Geography

- Hotel Aloft.

2016 Déndera - Lindora, Costa Rica.

2014 Deaquí y Deallá - San Pedro, Costa Rica.

2013-14 Columna ilustrada - AmeliaRueda.com, Digital.

2012 Caída Libre Film - Cortometraje por Andrea Morales.

GROUP EXHIBITIONS 2018 XXI Three Dimensional Biennale Marco Aurelio Aguilar - Cartago

Museum, Costa Rica.

2018 Valoarte Biennale of Art

- Avenida Escazú, Costa Rica.

2018 La No Bienal - URBN Escalante, San José, Costa Rica.

2018 Human Rights Exposition - Costa Rican Association of Visual Artists for

United Nations. San José, Costa Rica.

2018 Costa Rican Association of Visual Artists - Third Place in the IV Annual

Salon of the Costa Rican Association of Visual Artists. Historical Museum Juan Santamaría. Alajuela, Costa Rica.

2018 Tamarindo Art Wave Festival - Tamarindo, Costa Rica.

2017 No más de 35 [No

more than 35]- Artflow Gallery, Avenida Escazú,

Costa Rica.

2016 El patrimonio nos viste [The heritage dresses us]- Museums of the Central Bank, Pre-Columbian Gold Museum, San José, Costa Rica.

2016 San José nuestro runway [San José our runway]- Museums of the Central Bank, Plaza de la Cultura, San José, Costa Rica.

2016 La No Bienal - Kroma Gallery, Escazú, Costa Rica.

2016 Inauguration of the Olympics of Rio de Janeiro

- Rio de Janeiro, Brasil.

2016 Valoarte Biennale of Art - Avenida Escazú, Costa Rica.

2016 ArtWalk - Artflow Gallery, Avenida Escazú, Costa Rica.

2015 El patrimonio nos viste [The heritage dresses us] Pre-Columbian Gold Museum, Central Bank Museums. San José, Costa Rica.

2015 San José nuestro runway [San

José our runway] - Plaza de la Cultura, Central Bank Museums. San José, Costa Rica.

2015 VICEVERSA - Cultural Space Julio Le Parc, Mendoza, Argentina.

2015 ArtWalk - Artflow Gallery, Avenida Escazú, Costa Rica.

Más información en www.alerambar.com

HUMAN TOPOGRAPHIES Respect for our environment, tolerance towards other people, their physical and emotional expressions. This is the theme of “Human Topographies”, an exhibition that brings together works from the last three collections of the Costa Rican artist Ale Rambar.

The collections “Topographies”, “Tolerance” and “Freedoms” represent three stages in the evolution of the artist with respect to his technique, theme and content.

These topics are represented by human bodies analyzed topographically, as if they were mountains, valleys or rivers.

They are created by the use of paper in a technique called “three-dimensional compositions in layers of paper”. This is a style in which the three-dimensionality of the figure, the nature of the material and its relationship with light give life to each piece.

GUEST ARTISTS Kar la Ve ga - Poe t r y Pa b l o S e r ra n o , M i nd G a m es - Audiov isual Product ion

TOPOGRAPHIES COLLECTION Topographies, developed in 2016, was Rambar’s first collection that presented sculptures in layers made of paper, an innovative technique in Costa Rican art. This collection was based on memories of his childhood, materialized through techniques developed through his architecture studies.

“Half of my family is from Limón (the caribbean beaches of Costa Rica) and the other half from San José (the central valley of Costa Rica), so from my childhood I remember that it was very common for us to cross the Braulio Carrillo National Park to get from one side of the country to the other. The curves of the road, the sinuosity of the topography and the landscape of the area have been present in my life since I can remember.

Through my studies in architecture, I got to know the nature of topographic maps and I was struck by the way in which architects represent these surfaces by means of physical models. I graduated from a workshop called Landscape Urbanism, where one of the main topics was to analyze how urban projects can respect the natural space through its proper implementation within the topography.

After analyzing kilometers of topography, I began to remember how as a child I imagined how the mountains of the Braulio Carrillo National Park had the shape of human figures, so I began to generate topographical studies using human beings instead of terrains. These studies took the form of sculptures using techniques that I learned through architecture.

For me, each work is almost an architectural model, a human topography. “ The Topographies collection was based on the concept that we are all part of the natural system and the natural system is part of us, so if we would not cut off a person’s arm, we should not allow them to cut the “arm” of a mountainous system, a valley or a plain. It is through the personification of these concepts that I seek to bring the viewer closer to these concepts.

Topography I, 2016 Three-dimensional composition on layers of paper 80 x 55 cm

Topography II, 2016 Three-dimensional composition on layers of paper 80 x 55 cm $1200

Topography III, 2016 Three-dimensional composition on layers of paper 45 x 65 cm $1600

Miguel, 2018 Three-dimensional composition on layers of paper 80 x 55 cm $1400

Poem: La isla de las mujeres solas, 2019 Karla Vega Inspired on the art piece “Miguel”.

35 x 25 cm $200

La isla de las mujeres solas

Amanece en la isla y ya había un par despiertas.

Despertaron chingas o con camiseta.

Unos pechos cuelgan como los cocos, a nada de caerse, cafés y blancos.

Otros son pezones casi ojos, casi en la espalda.

Al sol le llaman la sombra de la luna.

Aquí no hay hombres, no hay soles.

De cinco a cinco la reina alumbra.

Aquí es el cielo y ninguna lo sabe.

Ni a la que le cuelga banano en vez de coco.

Ni la que anda la cabeza en la mano.

Ni la que con las hojas se tapa un ojo.

La isla es verde y roja y amarilla, y brilla.

Ya aquí nadie las mata.

Ya aquí solo los pajaritos les silban.

TOLERANCE COLLECTION The Tolerance Collection addresses social issues close to the artist’s personal life.

“In the Topographies collection, I talked about what the natural environment transmits to me. In the Tolerance collection, I pass this voice to human beings, seeking to exemplify observations of our upbringing as Costa Ricans on issues of gender, sexism and sexual diversity towards which I find important to draw attention. Just as mountains ask to be respected, many people also do so in the fight for equality. “ The first work of the collection is entitled “Nigüentxs” and consists of the reinterpretation of the typical figure of the Costa Rican lucky charm doll “Nigüenta”. “For me the Nigüenta represents innocence, sweetness and good omen, attributes that every baby has, both boys and girls. That’s why I created a neutral version, to remember that the essence of things is more important than physical appearance. “ From this concept, works were generated that deal with the subjects of the self-representation of people, about their physical, sexual and emotional identity. This collection features works such as “I do not want long hair,” “Men do not cry” and “Playing with dolls,” consisting of up to 44 layers of paper. These works focus on the theme of how in our upbringing as Costa Ricans we have been imposed ideas that may interfere in our expression as unique and independent beings. “Not all girls want long hair, men can cry too, and all children have the freedom to play with whatever they want, including carts and dolls.”

This collection features only the colors blue, pink and yellow, which are the most used to represent the masculine, feminine or neutral gender.

Nigüentxs (unisex), 2018 Limited series of 25 Papercut 40 x 55 cm $150

NigĂźentxs (unisex), 2018 Limited series of 25 Papercut 40 x 55 cm $150 Pink NigĂźenta, 2018 Limited series Plaster figure 18 x 23 x 31 cm. $100

Playing with dolls, 2018 Three-dimensional composition on layers of paper 120 x 120 cm $5500

Identity I, 2018 Three-dimensional composition on layers of paper 80 x 55 cm $1200

Identity II, 2018 Three-dimensional composition on layers of paper 80 x 55 cm $1200

Poem: También puedo bailar con el gato, 2019 Karla Vega Inspired on the art piece “Intertwined” 35 x 25 cm $200 Intertwined, 2018 Three-dimensional composition on layers of paper 50 x 125 cm $2500

TambiĂŠn puedo bailar con el gato

Soy el peor contando chistes, pero puedo golpearme la oreja. Puedo botar mis pies. Puedo chuparme el codo. Puedo morderme un ojo. Puedo cruzar las rodillas. Puedo bajar la luna para que sonriĂĄs, y el sol para que te caliente, y una estrella para que te sirva de adorno en el anillo que te quiero poner. Y un cometa, para que te amarrĂŠs el pelo por el calor que te va a dar tener el sol encima y una estrella en el dedo.

Men don’t cry, 2018 Three-dimensional composition on layers of paper 82 x 105 cm

Stare, 2018 Three-dimensional composition on layers of paper 50 x 50 cm

Discovery, 2018 Three-dimensional composition on layers of paper 50 x 50 cm $2200

Marcia, 2018 Three-dimensional composition on layers of paper 65 x 85 cm $1200

I don’t want to wear my hair long, 2018 Three-dimensional composition on layers of paper 120 x 120 cm $6000

Coat and scissors, 2018 Three-dimensional composition on layers of paper 30 x 25 cm $350

Poem: Duele hablar con los ojos, 2019 Karla Vega Inspired on the exhibition “Human topographies” 80 x 35 cm $600

Duele hablar con los ojos

Pregunta: ¿Qué duele más? ¿La cortadita de papel en el dedo del centro o el golpe con la pata de la mesa en el dedo pequeño del pie izquierdo?

Respuesta: una palabra.

Y la palabra está en los ojos, o en la lengua, o en el dedo del centro con la cortadita de papel.

Duele decir “menos”.

Cuando cuento con cuántos árboles estoy compartiendo aire.

Cuando cuento con cuántas mujeres estoy aguantando aire.

Sí, aguantando. Cuando estás asustada aguantás la respiración como si el dióxido de carbono se convirtiera en testosterona para que por una vez, no te maten.

Aún no me caso. Aún no tengo un papel para firmar que diga que vos sos de mí y yo de vos y somos un alma que combina colores como cuando jugaba con acuarelas y el sol podía ser verde y las montañas, moradas, y a nadie le importaba si le faltaban colores a la bandera que ahora llevo tatuada y me dice: aún no.

Duele decir “mañana.”

Porque hoy no pude.

Duele decir “ayer.”

Porque hoy tampoco.

Duele decir “azul” y pensar en las dos mentiras más grandes que aprendí de niño: Que el agua es azul, y que los hombres no lloran.

Como al árbol.

En un dedo tengo sangre y en el otro un Duele decir “aún no”.

Cuando me veo al espejo y el pelo todavía no me crece y los pechos todavía no me crecen y cada mecha que va más larga es la llave maestra para abrir la reja y salir de la puerta y decir: ¡soy mujer! ...y ya practiqué lo de aguantar aire.

morete.

Duelen las palabras, y el sol a veces.

Y si hoy tuviera que cantar, tarareo, y me como las palabras.

Mientras los árboles respiran conmigo y se oculta el sol verde.

LIBERTIES COLLECTION “Liberties is a collection in which I allow myself to explore unknown materials, techniques and processes, to make works that represent human bodies, desires and emotions.

I gave myself the freedom to intervene my works in ways I did not allow before. I painted on layers of paper with watercolor and pastel chalk, combined them with fabric, plastic thread and even made works with layers of glass instead of paper. This collection represents the freedom to create, to live and to express ourselves. “ This collection is also born in response to events of recent years that have had an impact on the issue of equity, both in relation to gender equity and sexual diversity. “I made several works that will resonate with people who have ever felt discriminated against because of their nature as human beings. They are works that speak of pride, sadness and internal struggles. “

Torn, 2019 Three-dimensional composition on layers of paper and watercolor 26 x 35 cm $800

AUDIOVISUAL PRODUCTION

Torn, 2019 6:27 min.

“Rasgado (Torn)” is an audiovisual production that presents the deconstruction of a masculine figure. The final result were two pieces of 60 x 60 cm and 25 x 35 cm.

Concept by Ale Rambar. Production by Pablo Serrano. Assistance by Paz Sánchez.

Postproduction by Pablo Serrano and Jaime Arroyo. A production of Mind Games.

Display available at www.alerambar.com/torn

Torn, 2019 Three-dimensional composition on layers of paper and watercoloe 60 x 60 cm $2100

Pink handkerchief, 2019 Three-dimensional composition on layers of paper and chiffon 80 x 60 cm $1500

Poem: Huele a alba, 2019 Karla Vega Inspired on the piece “Pink Handkerchief” 35 x 25 cm $200

Huele a alba

Por la rendija de abajito vi una luz, y me asomé.

Eran tus ojos, eras vos, luz, sonriendo y dándome la bienvenida.

La puerta está abierta.

Y como si hubiera estado arrecostada a ella -lo estabaen cuanto la abriste, caí. Y nada nunca más me levantó.

Almost there, 2019 Three-dimensional composition on layers of paper and thread 80 x 60 cm $1600

Poem: Trueque, 2019 Karla Vega Inspired on the piece “Almost there” 35 x 25 cm $200

Trueque

Éste es el trato: te doy mi vida entera, mi alma entera, el brillo en mis ojos, el aire que la ciudad me permita respirar y el aire que el pueblo me regale, la suavidad de mis manos, mi juventud y mi primogénito, a cambio de solamente una cosa: un dedo de tu mano donde quepa un anillo que brille tan blanco como la luz de tu sonrisa y que susurre suavecito todos los te amos que mi corazón te canta.

Te doy todo lo que soy a cambio de la promesa de que valdrá la peña existir en este mundo hasta que el cuerpo no me dé porque mi cuerpo vivirá por vos.

Poem: El monólogo del charco, 2019 Karla Vega Inspired on the piece “Lloro” 35 x 25 cm $200

Lloro, 2019 Three-dimensional composition on layers of paper and acrylic 80 x 60 cm $2400

El monólogo del charco

Si sudo y lloro no se dan cuenta.

Si sudo y lloro sí cuenta.

Si lloro y cuento me encuentran.

Colorín, colorado: la cuerda.

...o la corbata.

Agua es agua, pero de cada tubo sabe diferente.

Si me sale de los ojos, me tatúan la frente.

...marica.

Dejé un charco en el suelo, si no lo veo, ¿se seca?

Y el hueco en la pared, ¿se seca?

Y la sangre del puño.

Si lloro y cuento me encuentran.

De niño oriné la cama y nadie me dejó llorar.

Sea, 2019 Glass sculpture 30 x 30 x 1,5 cm aprox. $1200

Being I, 2019 Glass sculpture 15 x 25 x 1 cm aprox. $700

Being II, 2019 Glass sculpture 10 x 15 x 1 cm aprox. $300

Fragile, 2019 Glass sculpture 47 x 18 x 4 cm $2300

Rise up, 2019 Three-dimensional composition on layers of paper 80 x 110 cm $2000

Look up, 2019 Three-dimensional composition on layers of paper 80 x 110 cm $2000

ABOUT THE TECHNIQUE These pieces are created by the use of paper in a technique called “three-dimensional compositions in layers of paper”. This is a style in which the three-dimensionality of the figure, the nature of the material and its relationship with light give life to each piece.

The selected paper complies with the ISO 9706 standard on permanence, an optimal conservation guarantee. It is a paper free of acids, without optical brighteners and has a treatment against mold.

For the confection of the pieces, human bodies and their topographic curves are analyzed and drawn, one at a time. Each layer is created and calculated by the artist, then cut individually and assembled by hand. “It’s like making a model or a giant puzzle, where you have to consider the structure for each layer, how they are assembled and what are the ideal methods to keep the paper as clean as possible.”

“For the creation of these pieces I use different methods that I have learned through architecture.

Depending on the material and the desired finish, each is cut by hand, with a plotter, laser or CNC, always looking for the ideal method to achieve the desired result. I perceive it as the union of a technological process and a manual one “.

Poignant, 2018 Three-dimensional composition on layers of paper and pastel chalk 50 x 87 cm $2600

San Antonio de cabeza, 2019 Mixed technique 120 x 120 cm $3100

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