MUSEUM OF LATIN AMERICAN ART

SELECTED ACQUISITIONS TO THE MOLAAPERMANENT COLLECTION 2011SANDRA RAMOS(Cuba, b. 1969)Las olas cantaron anoche su poder, sólo encontrétres tablas de mi barca / The waves sang abouttheir power last night, I only found three planks ofmy boat, 1994.Oil on canvasGift of Geoffrey BeaumontM.2011.019Sandra Ramos uses diverse techniques such asprinting, engraving and collage with digital photographsthat give her work a dream-like imagery. Her workreferences Cuban themes of isolation, economyand the desire to flee the island. This paintingdepicts little boats and humans with the Cuban flagas their wings, escaping the country.NEREO LÓPEZ MEZA (Colombia, b. 1920) Keel of an Abandoned Boat, San Andrés Island, Colombia/Quilla de barco abandonado, Isla de San Andrés, Colombia, 1969/2011 (Detail)GABRIEL DE LA MORA(Mexico, b. 1968)Catalogue of the Exhibition I, 2011Light jet print, ed. 1/20, (+ 5 P.A.)Gift of the artist and OMR Gallery, MexicoM.2011.002About these works de la Mora says, “In a series ofburnt papers I explored drawing using only a blanksheet of paper and fire. The sheet of paper turnedfrom white to black and from a flat surface into anirregular shape. In terms of conservation, ash is themost stable material to the passing of time and thefragility would allow something as ephemeral asburning a piece of paper to become eternal.”TANIA BRUGUERA(Cuba, b. 1968)Mouth with Nails (Untitled) / Boca con clavos(Sin título), 2003brown and grey ink drawing with washes onwoven-screen paperGift of Geoffrey BeaumontM.2011.010The iconography of the protruding nails is presentin Mouth with Nails (Untitled), in which the artisttraces her figure onto the paper (referencing AnaMendieta) and draws nails coming out of her bodyand mouth, alluding to themes of devotion but alsocensorship and torture in her native Cuba.RAÚL CORDERO(Cuba, b. 1971)Too Early-Too Late / Demasiadotemprano-demasiado tarde, 2002Two synchronized clocks with photographic facesed. 2/3Gift of Geoffrey BeaumontM.2011.022Raúl Cordero’s works create a dialogue betweenthe medium and the idea. The piece presents twophotographs on the faces of synchronized clocks.Inadvertently—or inevitably—the mechanic systemof the clocks makes them lose their synchrony andtherefore one of the clocks is either “too early” or“too late” in relation to the other one.FABIANA CRUZ(Venezuela, b. 1984)Parition Lineaire #4 – « PaintSynth », 2010Video (1:54 min.) and print on acrylic, ed. 5/8Gift of Alberto GorodiM.2011.011Fabiana Cruz combines elements of music anddrawing to produce videos. In this series, she isresponsive to the music she is listening to. PartitionLinéaire #4: PaintSynth, 2010, for example, is doublevideo presented on the same screen, where theartist marks repeatedly with colored chalk eightdifferent points (or drawings) on the surface,emulating the rhythm of the musical score whichwas composed by her.SANDRA RAMOS (Cuba, b. 1969) Las olas cantaron anoche su poder, sólo encontré tres tablas de mi barca / The waves sang about their power lastnight, I only found three planks of my boat, 1994. (Detail)CARLOS GARAICOA(Cuba, b. 1967)Acerca de la Construcción de la Verdadera Torre deBabel / On the Construction of the Real Tower ofBabel, 1996Print and photoed. 10/15 and ed. 5 + 1 A/PGift of Geoffrey BeaumontM.2011.012.a-bThis work is a comment on ruins and utopia, but isalso an example of the representation of landscapebased in a real place with the incorporation ofelements of the imagination. Garaicoa draws a criticalbut sentimental architectural solution, which isunfeasible and absurd next to the photograph ofurban space in ruins in Havana.INGRID HERNÁNDEZ(Mexico, b. 1974)Diablitos, Tijuana, 2004Digital printed. 7 +A/PGift of the artistM.2011.014Ingrid Hernández is interested in alternative modesof living and subverting stereotypes of poverty byfocusing on domestic spaces—the place wherepeople project beliefs, desires and expectations.Diablitos is part of the series Compressed Tijuana,2005, in which Hernández studied the urbangrowth of the settlement Colonia Nueva Esperanza(New Hope) in Tijuana, by interviewing the residentsabout family, migration and socioeconomic issues.NEREO LÓPEZ MEZA(Colombia, b. 1920)Keel of an Abandoned Boat, San Andrés Island,Colombia / Quilla de barco abandonado, Isla de SanAndrés, Colombia, 1969/2011Digital print from original negative on papered. 1/1 (printed especially for MOLAA)Gift of the artistM.2011.016Nereo López was part of the “Grupo Barranquilla”during the 1950s. Other artists, writers and intellectualssuch as Gabriel García Márquez were also a partof it. López’s work has been primarily focused onjournalistic photography as well as more personalwork related to depictions of the rural life of Colombiaand the richness of its cultural heritage.CAMILO ONTIVEROS(Mexico, b. 1978)Colchon III (from the series Deportables) /Colchon III (de la serie Deportables), 2008Mattress and ropeGift of New Electronic World Security Inc.M.2011.018Camilo Ontiveros explores underground or alternativeeconomies, immigration issues and the economicvalue of objects. The ropes in this work arediscarded in the U.S. and are used to refer to theway these products are transported to Mexico andthen sold for a higher price. It shows the valuedifferences between the two countries.ESTERIO SEGURA(Cuba, b. 1970)Fly Away/ Echar a volar, 2001Oil and charcoal on canvasGift of Geoffrey BeaumontM.2011.020Esterio Segura uses planes as a recurrent motifto represent the idea of flying as a metaphor offreedom and the ideals of modernity. The workpoetically addresses Cuba’s isolation, constraintand impotence against various forms of restrictions,such as travel prohibition on the island and struggleto communicate with the outside world.5 6