Sandra Ramos. Soñando otra Ítaca. Centro Atlántico de Arte Moderno (CAAM). Las Palmas de Gran Canaria. 8 julio - oct., 2026. 20 h
Curaduría: Wendy Navarro
Esta exposición propone un recorrido por el universo creativo de Sandra Ramos (La Habana, 1969), a través de una selección de obras articuladas por su interés en el arte como manera de fabular otras Ítacas, proyectando nuevos lugares posibles para el individuo frente a un mundo inestable y convulso. Desde sus primeros grabados reflejo de la crisis económica, social e ideológica de la Cuba de los años noventa, hasta instalaciones y videoanimaciones recientes, su mirada crítica y poética sobre la realidad se amplía, revelando las complejidades y contradicciones del entorno global actual.
Las agudas y disidentes visiones de la “niña pionera” (alter ego de la artista y símbolo de las generaciones de cubanos nacidos después de la Revolución de 1959) entremezclan ingenuidad y ternura con un acento satírico y mordaz, guiándonos por su personal “cuaderno de viajes”, en el que afloran elementos de la literatura, la mitología, la filosofía o la caricatura; fusionando lo autobiográfico, su propio cuerpo y sus sentimientos más íntimos con el devenir de dilemas y avatares colectivos. Mediante una amplia variedad de medios y técnicas, y movida por una voluntad esencialmente humana, la artista crea experiencias inmersivas que involucran al espectador, conduciéndolo a la reflexión sobre temas esenciales como la migración, el desarraigo, la identidad, la pérdida de sentimientos utópicos y las complejas dinámicas de poder que moldean la sociedad contemporánea.
Junto a la Ítaca homérica —arquetipo de la patria—, o Ítaca como alegoría de la vida en el poema de Cavafis, en la obra de Sandra Ramos, tal y como ocurre en la Odisea moderna de Kazantzakis, la isla constituye punto de llegada y, sobre todo, de partida para crear “un lugar ideal”. En Soñando otra Ítaca, la “niña pionera”, desde un pequeño montículo-isla, extiende un lápiz señalando el horizonte sobre el que dibuja los contornos de una nueva ciudad. Traza así un puente imaginario que surca las aguas profundas, oscuras, turbulentas, acortando distancias, acercando orillas, creyendo en el valor del arte como espacio infinito de conexión humana y camino hacia la libertad. Soñando otras Ítacas aún por venir.


Sandra Ramos. Soñando otra Ítaca. Centro Atlántico de Arte Moderno (CAAM). Las Palmas de Gran Canaria. July- Oct 2026
https://caam.net/exposicion/sandra-ramos-sonando-otra-itaca
Curated by Wendy Navarro.
This exhibition offers a journey through the creative universe of Sandra Ramos (Havana, 1969) through a selection of works articulated by her interest in art as a way of fabulating other Íthacas, projecting new possible places for the individual in the face of an unstable and turbulent world. From her early engravings, reflecting the economic, social, and ideological crisis of Cuba in the 1990s, to recent installations and video animations, her critical and poetic gaze on reality expands, revealing the complexities and contradictions of today's global environment.
In Dreaming of Another Ithaca, the "pioneer girl," from a small mound-island, extends a pencil pointing toward the horizon over which she draws the outlines of a new city. She thus traces an imaginary bridge that crosses the deep, dark, turbulent waters, shortening distances and bringing shores closer, believing in the value of art as an infinite space for human connection and a path toward freedom. Dreaming of other Ithaca’s yet to come.
Wendy Navarro / Curator
Drawing inspiration from Plato’s Allegory of the Cave and from the Polish fi lm Ashes and Diamonds (1958) by Andrzej Wajda, Ramos constructs a symbolic dialogue between philosophical and historical ruins. Through painting, installation, and collage, she refl ects on the human condition as caught between darkness and illumination, between the residues of a collapsing world and the persistent search for answers.
Hopscotch - Cosmo-agonic is a dynamic interactive painting Installation on a 15 x 5-meter wall, exhibited at Marlborough Gallery Madrid in 2023. A series of 35 small paintings is distributed at different levels on 9 shelves. They are composed to establish a playful cartography. This emotional and random cacophony relates to the vital experience that emanates from the reading of Julio Cortazar Hopscotch's novel and contrasts with events of my own life. The paintings are reinterpretations of concepts such as history, time, migration, and love.
Entrodoscopes propone una reflexión sobre nuestro entorno y ese estado de consciencia alterado resultante de la invasión y distorsión generada por los medios y, en especial, social media.
The title reference, Tank Man, is the nickname of an unidentified Chinese man who stood in front of a column of Type 59 tanks leaving Tiananmen Square in Beijing on June 5, 1989, the day after the Chinese government's violent crackdown on the Tiananmen protests.
The Hand of History is motivated by the memories of my childhood as a xx-century student and the changes in the dynamics of learning after the development of the internet, as well by my interest in Art as a way to explore, accumulate and transmit human knowledge.
Impossible Dialogue: is a participative art installation that focuses on the symptomatic polarized lack of civility that are affecting our interrelations in social media spaces. This installation resembles an apple store where the technological products will be replaced by clay phones, tablets and laptops whit relief inscriptions of texts and images.
The series of sculptural projects for public spaces that I have been working on recently are based on the poetic, symbolic and anthropomorphic representation of animals and objects, which have been important in my previous work, such as the running rabbit, the birds, the flies, the hourglass, and the books, among others.
In the Trumpito Series, I use a contemporary reinterpretation of the character: Boss Tweed, created in the late 1860s by political cartoonist Thomas Nast.
These drawings express my personal reaction to uncertainty and social estrangement imposed by the COVID 19 epidemic. In them, in addition to the personal and contextual references, there are poetic, philosophical and scientific allusions.
Sandra Ramos