Image courtesy the creative.

Diego Ramírez

Artist, Writer and Facilitator

Diego Ramírez began his career making video art. He approaches this medium cinematically and with an interest in representation. His video work was subject to a joint solo screening by ACCA x ACMI titled Diego Ramirez: Towards the Umbral, curated by Annabelle Lacroix in 2018. His videos are shown internationally, participating in Terror En Lo Profundo curated by Deslave at Human Resources LA. And various international festivals, such as EXiS, FILE Sao Pualo, Stuttgarter Filmwinter, Kuala Lumpur EFVF, and Channels Video Art Festival.

Over the years, he expanded his interest in media by working with different mediums, often looking at language and representation. Examples of objects include the life size vampire coffin for the group show Those Monuments Don’t Know Us. His pictorial work with Columbus’ solar eclipse has been exhibited at Aeon Resurrection as a large scale banner, and as a mural in Necronomicon Uploaded at Desvale, in their address Av. H Cristobal Colon, Tijuana.

He is also known for performance, like the comical audition for Buffy The Vampire Slayer in Lifenessless at West Space x Gertrude Contemporary in 2019, as part of Ventriloquy curated by Joel Stern.

Image courtesy the creative.


Past event

I am a ‘diaspora’ Latinx. Hola. It means everyone back home thinks I am basic

Wed 18 Jan 2023

"I am a ‘diaspora’ Latinx. Hola. It means everyone back home thinks I am basic" by Diego Ramírez is a live performance featuring a devil breaking a black piñata. Every time the devil hits the piñata, it responds with a noise that resembles a grunt, to make it seem like the object is suffering. Indeed, Ramírez corrupts his childhood memories breaking piñatas to resemble a sadistic scene, amplifying the darker connotations of this festive ritual. This performance began as a subtle image of pandemic (from the god Pan) that reflects on the nexus between North-South relationships, disease, and capitalism. However, Ramirez’ re-shifted this focus over time as a satire of diaspora art in alignment with his wider push and pull with identity politics, as evidenced in his writing. It also draws from his prior research on the evolving iconography of the devil in art history. The work is made in collaboration with Zamara Zamara on fabrication and Bonnie Cummings on sound. This project is funded by Multicultural Arts Victoria, as part of their Represent Commisions, scheduled for a 2023 presentation in Contact High curated by Anador Walsh. - - - - In line with Gertrude’s commitment to supporting curatorial practice and the presentation of ambitious projects and public outcomes, the month of January will again be dedicated to Contact High. Piloted in 2022, Contact High is a three-year partnership between Gertrude and Performance Review exploring the transference that occurs between performers and audiences in the gallery. Over the course of four weeks, four Naarm based artists will be given full access to Gertrude Glasshouse as a space in which to develop, rehearse and workshop new or existing performance works, before showing them to the public. On Wednesday 18 January, Sophie Gargan, Diego Ramírez and Kenneth Suico will present solo works. In the period Tuesday 24 January - Wednesday 25 January, Gabriella Imrichova will exhibit a collaborative work, the closing for which will be held on Wednesday 25 January.