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Borinquen Title Loans Carolina Puerto Rico – There is a quiet harmony between things in Daniel Lind-Ramos’ meetings. Things support each other in perfect balance, interdependent to create a mutually reinforcing environment. Take for example,

Where two piles of garden tools tied with rope sit on either side of the wooden case. A television sign is placed on the shelves, and then—going up again—a sculpture is crowned with palm branches;

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It scales in a nice circle on the monitor. Work is a great expression of mutual support, a kind of symbiotic network where one thing encourages the next.

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In fact, jobs are like society in their nature: the whole cannot exist without the food from each part. This collaborative behavior not only reveals the relationships between the collected objects but also reflects the psychological questions of connection, community, and social cooperation that inspire Lind-Ramos’ practice, which is currently the subject of work defining the exhibition at MoMA PS1. .

Summoning a multitude of voices into the room, summoning a long line of storytellers and caretakers. Each work is an image of the history of the area, woven together to tell the story of the artist’s home, its people, its culture, its land – but also the stories of colonial workers and disasters. of nature.

, or “The Old Griot,” is about Afro-Indigenous writers who are among the cultural leaders in his hometown of Loiza, Puerto Rico. Lind-Ramos honors these heraldic figures with a list of works that sound like verses. Although several of the ten sculptures are placed in their rooms, they do not feel removed from each other. Instead, they operate in dialogue, each world whispering ideas to the other. The works of Lind-Ramos sculptural griots and packing them together meet something like narratology.

Consisting entirely of found objects from Loiza—some collected by the artist and others donated by friends and neighbors—the PS1 sculpture has a restorative and restorative power to the area. and its people. Most of them, like

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(2022–23), are complex and large in scale, but lack the verticality that often characterizes large-scale sculptures. Another reason is because the three guards resemble human figures, which appear to be arranged in heads, chests and arms. But again, the nature of people emerges from their nature: the things they are made of – among them colorful fabrics, yard cloths, and drums – are full of life and personality, with a repetitive and unrelenting voice. say often but. hearing.

Despite their influence, the Lind-Ramos meetings also provide God’s protection generously in the garages. They are deeply touched by the spirit, they notice us as we walk among them, they act as if they have set our paths. The three carved statues are clearly named after the deity, referring to the repetition of Santa Marìa many times.

(2018–22) is named after the Taíno goddess of storms, called “wind woman” in English. A gyre-like array of objects—coconuts and tree trunks, ropes and pipes, pipes and raccoons, and finally a blue FEMA tarp electrical cord—accumulates higher and higher, a storm of material that accumulates inside. ‘of the threads of the cloth like a watchful eye. . The extraordinary power of this object – combined with its title – reminds us of the second “Maria”, the hurricane that destroyed Puerto Rico in 2017.

(2022–23), Lind-Ramos remembers and recounts the impact of another crisis in Puerto Rico: COVID-19. Here, he cleverly combined mattress straps, horns, emergency car lights, and shoes, creating an ugly, almost evil cross between a person and an ambulance. Although this work presents a sense of danger, starting a record of uncertainty and urgency, it also gives a sense of wisdom and familiarity. It’s tempered by a refreshing vulnerability, a quirky fix that appeals to the idiosyncratic. This certainly does not mean that the task is easy to handle. However, it reminds us loudly of the power of life and survival in the face of difficult situations, full of stories of inconsolable simplicity.

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I often remember a tour of a large museum of modern art for one entrance that stopped. In the case of the 2019 Whitney Biennial, the idea of ​​a unique painting called “María-María” by the Puerto Rican artist Daniel Lind-Ramos does not let go.

He was a little over six meters tall, with a female form, his body was covered in a blue coat, his head was a hollow oval, his arms were long , thin and bent as if open. to hug The materials he was made of were unusual, certainly in the Whitney style. The head was of woven coconut; His life jacket was a plastic FEMA trailer.

All these, together with the pungent name, have encouraged the weaving of various cultural and political references: to the beautiful Christian image of the Virgin Mary, to the Afro-Caribbean sea goddess Yemaya; and the deadly hurricane that devastated Puerto Rico two years earlier.

Whatever the work means, the Whitney’s curators measured its power. They separate it from the rest, like the altar, in a window like the west, with an open roof and the Hudson River as a background.

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Now, four years later, the artist’s work is being seen again at the New York City museum, this time at MoMA PS 1 and in full force in a similar and unusual tour of the world and the sky of the show called “Daniel Lind-Ramos. : El Viejo Griot – Una Historia de Todos Nosotros (The Great Storyteller – The Story of All of Us).”

The exhibition begins with a boat – the full size of a salvaged wooden one. It was spread over a sea of ​​blue tarp, full of things – coconuts, conga barrels, plastic containers for storage or gambling – and buried under piles of backpacks. property.

The ship’s name, El Viejo Griot, refers to a mythical figure, caretaker and storyteller, who appears in the form of Carnival-like celebrations held annually in the Puerto Rican town of Loíza, where Lind-Ramos, 70, where he was born, life and works.

Twenty kilometers from San Juan, the town began to house free blacks and runaway slaves. Still a distinct black Puerto Rican political community, the Afrodescendientes — Lind-Ramos is one — are also an important center of Afro-Caribbean culture on the island.

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Exactly what the ship’s cargo bags were loaded with, we don’t know. But each was published at a specific time in the island’s 500 years under colonial rule, from the rebellion of the Native Taino Indians against the Spanish invaders in 1511; stopping the British invasion in 1797; to the United States by force in 1898; and finally there is the hurricane of 2017 that left this island, US Commonwealth, to protect itself.

The crippling reality of the storm, which was followed in 2020 by a series of earthquakes and Covid-19, are all active, some of which are made of leftover debris. The recently completed monument is called “Ambulancia,” which refers to all three tragedies. A dilapidated, hand-carved car container containing car parts, hazard lights, discarded shoes, a mattress removed from water sources and a hearse.

The effects of colonialism can be direct. (“Ambulancia” is, among other things, about frequent encounters in emergencies when resources are limited and humanitarian aid is prohibited.) But it can also be global and deep, as shown in a series of Marian sculptures.

The 2019 Whitney Biennial model is not in the program, but three other “Maria” pieces are. Another, “Baño de María (Bain-Marie/The Cleansing)” is about industrialized global warming that is causing storms and seas to sink to islands. The second part, “María Guabancex,” is attributed to the Taino goddess of wind and chaos, whose destructive anger, caused by changes in the weather, is described as a violent storm of ropes, ropes and branches. the palm.

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The title of the third book, “María de los Sustentos (Mary of the Feeder),” seems to refer to Mother Jesus. But the sculpture that Lind-Ramos presented feels less Catholic substitution from Spain than local production, carefully assembled, as if with pots and pans, fishing nets , agricultural tools, tools for daily life Loíza. the community.

This community, which began, and remains, a refuge for African immigrants who have found little acceptance elsewhere, is the underground source of Lind-Ramos’ art. He has lived elsewhere – he studied art in New York and Paris – but has since returned. And the sculptures in the show are, in important ways, about that.

This is true in the case of material things. Each example of this wonderful painting is made from pieces of that land. This is true of the first work of the exhibition, “Armario de la Memoria (Memory Cabinet)” (2012), where shovels and hard-used beams are next to old entertainment furniture but lovingly preserved (TV monitor , DVD. And this is true with the 2020 episode called “Figura Emisaria (Emissary)” which presents, among other things, the old style.

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