Ronald Morán

Statement

Named by Exit Madrid as one of the 100 most influential contemporary Latin American artists of our time, Ronald Morán has participated in over 150 exhibitions throughout the United States, Latin America, Europe and Asia. In 2007, Morán represented El Salvador at the Venice Biennale. He has also exhibited at the Bienal Cuvee in Austria, the Tenth Habana Bienal, the Dorsky Curatorial Project in New York and the Margulies Collection in Miami with a recent invitation to the Beijing Biennale in 2010.

His professional career begins in the 90's from drawing and collage. Through his works, Morán makes critical interpretations of relationships and everyday environments, employing a fine ironic sense and a highly intuitive — metaphorical — use of images. In its production, it tracks and exposes the repercussions of migrations, the immanence of political-economic violence and its influence on family and extra-family ties.

It is important to highlight that Morán's artistic creation is subject to the potential of the serial. His approaches, in constant reformulation, problematize the terrain of what was believed to be known. This review allows an idea to manifest itself as many “totally different” from the use of different materials, media and spaces. This sensible sensory translation protects the familiarity of the works. His production is nationally and internationally recognized for its breadth. His pieces skillfully adapt and dialogue in foreign contexts without losing or betraying their regional roots.

Hogar dulce hogar / Home sweet home Visually ironic aggressiveness, violating the comfortable, familiar in the home environment. The total white and the padding make the scene ethereal, but when contemplating the place the tension arises, the impatience, has it happened here? Or is something about to happen? The space is neat and static, but shows signs of activity, dirty junk can be distinguished, uncovered pots and pans, an abandoned chair ... the presence of the absent body causes anguish, plays with our senses and expectations, abandoned, suspended we can only observe, the place prevails, even at our beck and call it repels us.

Between the flowers It is the closest translation to the concept of garden in the Ashi language (Language of Mayan descent that is still preserved in the Baja Verapaz area. It is a posthumous tribute to the innocent victims of many massacres carried out by armed groups against indigenous people from different regions of Guatemala during the period of civil war in the 1980s.

The paper flowers that make up this garden are testimonies of survivors who later offered their statements to different human rights entities, in order to assert the truth and preserve historical memory.

The flower as a symbol of life and among white stones as a metaphor for the many material and political interests that do the impossible to keep this racial fact hidden from new generations.