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博尼·拉米雷斯肖像，摄影：Malik Dupree。©️ GAYLETTER
Portrait of Bony Ramirez. Photo: Malik Dupree. ©️ GAYLETTER
为了迎接博尼·拉米雷斯（ Bony Ramirez）即将于今年 11 月在 BANK 举办的个展，我们在此庆祝他近期的展览，回顾他作为一名加勒比裔艺术家在创作语言上的全新开拓性。
In anticipation of Bony Ramirez's upcoming solo exhibition at BANK this November, we celebrate his recent exhibitions and look back at his newfound and pioneering approach to his creative language as an artist of Caribbean descent.
🔗博尼·拉米雷斯 Bony Ramirez｜热带与缺席的视野
🔗博尼·拉米雷斯 Bony Ramirez｜入选2023福布斯30岁以下杰出青年&精选报道
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展览现场图致谢纽瓦克艺术博物馆，纽约，美国
Installation views. Courtesy of The Newark Museum of Art, New York, USA博尼·拉米雷斯 Bony Ramirez
卡特兰
Cattleya
The Newark Museum of Art, New York, USA博尼·拉米雷斯的个展“卡特兰”目前正展于纽瓦克艺术博物馆，此次也是艺术家的首个美术馆个展。在一年的时间里，艺术家广泛探索了博物馆的藏品，重点关注历史肖像、风景和当代艺术。多米尼加共和国的童年记忆和加勒比海的复杂历史为他的超现实叙事风格提供了灵感。卡特兰（Cattleya）又称洋兰，原产于中美洲和南美洲，拉米雷斯将其与殖民主义联系在一起。展览探讨了殖民主义的遗留问题和旅游业对加勒比地区的影响，同时也重新想象了抵抗行为的衍生形态。
Bony Ramirez's solo exhibition Cattleya is on view at the Newark Museum of Art, marking the artist's first solo exhibition at an art museum.Over the course of a year, Ramirez explored the Museum’s collections broadly, with a focus on historic portraiture, landscape, and contemporary art. Childhood memories of the Dominican Republic and the complicated histories of the Caribbean inform his surreal narrative style. Cattleya is a genus of orchid native to Central and South America that Ramirez associates with colonialism. The exhibition probes the legacy of colonialism and the effects of the tourism industry in the Caribbean, while also reimagining what resistance can look like.![]()
博尼·拉米雷斯 Bony Ramirez
清理，风暴之后 Clean Up, After the Storm
丙烯，彩铅，油彩，壁纸，金箔，塑料珍珠，布里斯托尔纸在木板上Acrylic, colored pencil, oil pastel, wallpaper, gold leaf marker, plastic pearls, Bristol paper on wood panel超现实主义与我们:
1940年以来加勒比和非洲散居艺术家
Surrealism and Us:
Caribbean and African Diasporic Artists since 1940
Modern Art Museum of Fort Worth, Dallas, USA博尼·拉米雷斯于 2020 年创作的作品《清理，风暴之后（Clean Up, After the Storm）》正展出于美国达拉斯沃斯堡现代艺术博物馆举办的 "超现实主义与我们:1940年以来加勒比和非洲散居艺术家"展览。展览共展出了 80件作品。展览灵感来自Suzanne Césaire的文章 《1943 ：超现实主义与我们》，此次展览展出了从 20 世纪 40 年代至今的 80 多件艺术作品，涉及绘画、雕塑、素描、视频和装置等多种媒介。“超现实主义与我们”以加勒比美学、非洲超现实主义和非洲未来主义的交汇点为中心，探讨了加勒比和黑人艺术家如何诠释现代主义运动。艺术作品以黑人反抗和创造的历史为框架，展示了加勒比和黑人艺术家如何为自己的目的重新诠释欧洲前卫艺术。Bony Ramirez’s 2020 work Clean Up, After the Storm is among the more than 80 works featured in the exhibition “Surrealism and Us: Caribbean and African Diasporic Artists since 1940” at the Modern Art Museum of Fort Worth in Dallas, USA.
Inspired by the essay “1943: Surrealism and Us” by Suzanne Césaire, the presentation includes over 80 artworks from the 1940s to the present day, in a wide range of media such as painting, sculpture, drawing, video, and installation. Centered on the intersection of Caribbean aesthetics, Afrosurrealism, and Afrofuturism, Surrealism and Us explores how Caribbean and Black artists interpreted a modernist movement. Artworks, framed within a pre-existing history of Black resistance and creativity, illustrate how Caribbean and Black artists reinterpreted the European avant-garde for their purposes.
博尼·拉米雷斯 Bony Ramirez
佩拉妈妈 La Mamá De Perla
丙烯酸，彩铅，软油彩，壁纸，各类贝壳，布里斯托尔纸在木板上Acrylic, color pencil, soft oil pastel, wallpaper, varied seashells, Bristol paper on wood panelLower Manhattan Cultural Council, New York, USA博尼·拉米雷斯2022年的混合媒介画作《佩拉妈妈》（La Mamá De Perla）目前正于美国纽约曼哈顿下城文化委员会（LMCC）举办的“热带频率”展览中展出。
“热带频率”展览展示了加勒比艺术家们的绘画、雕塑和装置作品，这些作品深受加勒比文化、热带地区以及艺术家自身非洲及原住民根源的影响，展现了别样的境界。这些作品触及了想象、精神、神话和祖先的领域，成为与形而上学联系的媒介。展览探讨了艺术创作过程和最终呈现如何成为通往无形的、植根于加勒比传统的门户。艺术作品通过木材、沙子、贝壳和衣服等循环利用的有机和人造材料，与加勒比岛重建联系。
Bony Ramirez’s mixed media painting, La Mamá De Perla (2022), is now on display in the Tropical Frequencies exhibition at the Lower Manhattan Cultural Council in New York, USA.
Tropical Frequencies featured paintings, sculptures, and installations by Caribbean artists engaging with alternate realms influenced by Caribbean culture, the tropics, and the artists’ African and Indigenous roots. These works tapped into imagined, spiritual, mythical, and ancestral realms, serving as mediums to connect with the Metaphysical. The exhibition explored how creating art and the final pieces acted as portals to the intangible, rooted in Caribbean traditions. The artworks connected back to the islands through repurposed organic and manmade materials like wood, sand, seashells, and clothing.
展览现场图致谢波士顿美术博物馆，美国
Installation views. Courtesy of Museum of Fine Arts, Boston, USATender Loving Care: Contemporary Art from the Collection
Museum of Fine Arts, Boston, USA
艺术家博尼·拉米雷斯的作品《大刀劈砍！》（MACHETAZO!）进入波士顿美术博物馆永久馆藏，并于其当代艺术馆藏展“温情关怀”中亮相。
《大刀劈砍！》这件肖像作品描绘了想象中的多米尼加女子形象。这位女子周围的画布空间被一系列真实的砍刀刺穿，但她赤裸着身体、充满自信并坚定地站在那里。女子脚边有一个幼猪面具（Lechón），在多米尼加共和国的年度狂欢节中，这个形象代表了艺术家的家乡。这幅加以装饰的立体画作在呈现和造型上都充满了活力，唤醒了观众的感官反应。
Artist Bony Ramirez’s work MACHETAZO! is acquired by the Museum of Fine Arts, Boston’s permanent collection, and it is currently on display in the exhibition Tender Loving Care: Contemporary Art from the Collection.
In this portrait, an imaginary Dominican woman has been depicted. She stands strong, confident, and unclothed even as a series of machetes penetrate the painted surface around her. The mask on the ground is of Lechón, the animal-like character who represents the artist’s rural province at the annual carnival in the Dominican Republic. This embellished, three-dimensional painting is both literally and figuratively vibrant, awakening sensory responses in us as viewers.
关于艺术家
About the Artist
博尼·拉米雷斯
Bony Ramirez
博尼·拉米雷斯1996年出生在多米尼加共和国萨尔塞多的特纳雷斯。他目前在新泽西的泽西市生活和工作。他在多米尼加共和国的乡村长大，并第一次接触到天主教的图像，他对意大利风格、文艺复兴时期的肖像画和儿童插图等有着不同的深厚兴趣。他创造的虚构人物都与其周遭社会环境息息相关，艺术家的娴熟技法使得他画中的每个人物似乎都被移置到一个不断变化的象征性环境和背景的戏剧中。拉米雷斯在纸上创造了他的个人风格化、比例扭曲的人物，并将他们置于具有田园风光、加勒比图像的彩色背景的木板上。拉米雷斯的人物，分别和同时用油画棒、油漆和彩色铅笔呈现。在他的作品中出现，其他各种象征性的附属物也是如此。拉米雷斯在作品中使用了各种物件更进一步强化了他作品的俏皮和田园风格，如五彩缤纷的珠子，要么以暴力的方式穿透它，如刺入画布的真正的刀子。博尼·拉米雷斯曾在 Bradley Ertaskiran（蒙特利尔）、Franqois Ghebaly（洛杉矶） 、BANK画廊（上海）、 Jeffrey Deitch（纽约）等画廊及机构展出，并于2023年入选Forbes 30 Under 30 艺术与时尚类榜单，且于2021年入选The Artsy Vanguard 2021。他的作品最近被迈阿密当代艺术学院、波士顿美术博物馆、西雅图弗莱艺术博物馆、迈阿密佩雷斯艺术博物馆以及北京X美术馆永久收藏。
Bony Ramirez was born in 1996 in Tenares, Salcedo, Dominican Republic. He currently works in Jersey City, New Jersey. His rural upbringing in the Dominican Republic, his first encounters with Catholic imagery, and his deep interest in sources as varied as Italian mannerism, Renaissance portraiture, and children’s illustrations reverberate within and around the fictional characters he creates.If each figure appears to be transposed into a changing theatre of symbolic surroundings and backdrops, it is the artist’s technique that renders this possible. Ramirez creates his heavily stylized, proportionally distorted figures on paper, and adheres them onto wood panels featuring idyllic, colourful backdrops of Caribbean imagery. As Ramirez’s characters, developed separately and simultaneously in oil stick, paint, and coloured pencil, make their way onto his works, so too do various other symbolic appendages.Bony Ramirez has exhibited at Bradley Ertaskiran (Montreal), François Ghebaly (Los Angeles), Bank/Mabsociety (Shanghai), Jeffrey Deitch (New York), among others, and was recognized in the Forbes 30 Under 30 Arts & Style category in 2023, and The Artsy Vanguard 2021. His work has recently been acquired by the permanent collection of the Institute of Contemporary Art Miami, as well as the Boston Museum of Fine Arts, the Frye Art Museum, the Perez Art Museum Miami, and the X Museum in Beijing.
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