VISUAL WORKS by Cuban Artists SECCA · 2018. 9. 19. · with its formal mastery, but also because it brings to light peculiar and intense cultural and social discourses, displayed

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SOUTHE ASTERN CENTERFOR CONTEMPORARY ART

SECCAVISUAL WORKSby Cuban Artists

JUNE 7th - NOVEMBER 4th

ESP ⁄ ENGHOME EXHIBITION GALLERY SPACE ART WORKS PROGRAM

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Southeastern Center for Contemporary Art

750 Marguerite DriveWinston-Salem, NC 27106

336-725-1904

[email protected]

CURATORIAL STATEMENT ARTISTS

Cuba has more artists than population. Gerardo Mosquera, well-known curator and art critic, joked that artists grow like weeds on the island. In reality, the propagation of artists in Cuba began with the creation of the National School of Arts in 1961, followed by the Instituto Superior de Arte (The University of Arts of Cuba) in 1976. Today, all Cuban provinces have colleges for art teachers and cultural organizations that guarantee young artists’ formal development to the highest level of their education. These programs include all genres - dance, including ballet; music; theater; the visual arts that came to represent the avant-garde in the 1980’s. Coined the “Cuban Renaissance” or “New Cuban Art” by renowned artist and critic Luis Camnitzer (who currently resides in New York), the visual arts movement critiqued various paradigms and models: identity and heroism, the overarching official narratives of the time, and the corruptive practices within socialism. During this period, Cuban artists lived in a kind of utopia, believing in art’s transformative power.

With the collapse of the Soviet Union, came the “The Special Economic Period in Times of Peace”, in 1992, marked by crisis and dire economic hardship for Cubans. Many Cuban avant-garde artists emigrated, initiating an era of indirect and criticism based on rhetorical figures, including a loss of faith in their former utopic projects.

Artists in Cuba focused on three objectives: (1) to maintain the previous generation’s critical stance but elude official censorship; (2) to make a mutually opportunistic pact with the official institutions; and (3) to adapt to the new commercial art market that began to grow with the internationalization of Cuban art and the dollar decriminalization. Artists in Cuba focused on three objectives: (1) to maintain the previous generation’s critical stance but elude official censorship; (2) to make a mutually opportunistic pact with the official institutions; and (3) to adapt to the new commercial art market that began to grow.

Elvia Rosa Castro and Gretel Acosta

ABOUT THE EXHIBITION

This exhibition features 19 recognized and successful artists of different generations from the seventies, the so-called Cuban Renaissance of the eighties, and today’s emerging artists. This exhibition is a compendium of works by Cuban visual artists today, no matter where they live. The artists share two main char-acteristics: (1) they have been educated on the Island, (2) they are intentional and serious in their artistic approach. The works of art in this exhibition criticize every type of fundamental political power, and questions notions of gender, race, censorship, emigration, fragmentation and the authority of official history. The artists’ post-conceptual affiliation, cultural and religious references, political posturing and introspective discourses characterize this exhibition, giving it an irrefutable anthropological value that contributes to understanding Cuban culture and history. The work of the Cuban artists attracts viewers not only with its formal mastery, but also because it brings to light peculiar and intense cultural and social discourses, displayed with an ample dose of ethical responsibility. They are contemporary, layered, and reactivated references of Cuba that don’t fall into identity stereotypes or false traditionalism. Exhibitions of Cuban artists have taken place for years in the United States (with one of the first at the Museum of Modern Art in 1944) but recently this wave of exhibitions has gained momentum. After 58 years of the “frozen bridge” between Cuba and the US, American interest in Cuba has increased considerably, and the cultural exchange between both countries has aided in this “thawing”. Since 2014, when Presidents Barack Obama and Raúl Castro declared the reestablishment of diplomatic relations, Cuba and its culture have been in the US spotlight more than ever. In 2017, surprisingly, we witnessed a setback and serious political impasse and, again, the bridge to diplomacy froze up;

auspiciously, art transcended the freeze because art has always been at the center of this already classic “eternal love”. Post-1959 Cuba is a modern and totalitarian Cuba. Under these circumstances, Cubans have inherited all the modern myths of social progress, equality, emancipation; the master narrative of the Great Subject and the Great Nation, and simultaneously, the traditional discourses of the Caribbean and the periphery. Cuba has lived, and continues to survive in a sort of tautological and tyrannical Matrix, where the combination modernism and totali-tarianism - with all the fanfare of legitimizing slogans - prevails. After the fall of the Berlin Wall, twenty-first-century Cuba has used up all formulas for survival and has irreversibly veered off course. That Cuba, a little more informed, thanks to the Wi-Fi hotspots in parks and the weekly internet “packets” (passed around on flash drives), has suffered an ethical collapse. The Island has experienced a displacement of the utopic and the collective ideal and moved toward pragmatism and the individualized vision. Cubans now cling to a sensibility that doesn’t believe in slogans, or leaders, or epics, or absolute truths. And they experience this disenchantment in the only way they can; by facing this fractured ideology and replacing the most gut-wrenching pain with the most cynical pleasure. Some of the escape valves have been to enjoy the “gozadera” (a kind of Bacchanal), and to take refuge in historical memory and spirituality. In this logic, art is included. As a result of field research in Cuba and the United States, these works come to SECCA directly from the artists’ studios.

ARTISTS


JOSÉ BEDIA

José Bedia’s artwork constitutes a meeting point between two often separate but not mutually exclusive systems: Western culture and so-called primitive cultures (also labeled subordinate or marginal cultures). The artist’s physical and mental journeys, his creative trustworthiness, and his vital immersion in religious practices of African origin fundamentally free him from the typically frustrated role of 20th-century anthropologists. Bedia intellectually fuses ancestral knowledge with contemporary and postcolonial thought, in works that express a decolonization of the mind. Bedia’s signature style, which borrows influences from different cultures including the art of the Dakota Sioux tribe, is seen here in texts that resemble pictographs —the archetypical Palo Monte (an Afro-Cuban religion) drawings— “found” materials from research expeditions, and a sketch executed with great mastery. Bedia’s work is based on pataki, or legend, that Babalú Ayé lived a disobedient and promiscuous life among the Yoruba of Africa and, as a result, contracted contagious diseases and was loathed by his people. He decided to explore other lands. Ife Changó accepted him into his territory and assured him that he would be loved and venerated in another land if he performed an ebbo (a Santería ritual using beans) and always kept a dog by his side as a companion. Grateful to Ife Changó, Babalú Ayé continued his journey. In the Dahomey Kingdom in Africa (located

in the land of the Arara) he was venerated, and at Changó’s request, the god Olofi consecrated him and created a great rain shower to wash off his sins and made an opening in the earth beneath him to bury them. Babalú Ayé, always accompanied by dogs, is miraculous and pious but also merciless toward those who don’t fulfill their promises; he instills fear in everyone. Against the background of this legend, Bedia’s work is about the idea of pilgrimage, whether cultural, existential, or physical, and asks human beings, wherever they may be, not to lose sight of their duties as citizens and believers. He also encourages loyalty and integrity, maintained by keeping one’s word.

Santería: A system of beliefs that merges aspects of the Yoruba religion brought to the New World by enslaved Yoruba people from Africa along with Christianity and the religions of the indigenous peoples of the Americas.

Changó: In the syncretic Afro-Cuban religion, Chango is also the Catholic Saint Barbara, the orisha, or god of justice, thunder, and fire. His color is red, and his day, December 4.

Babalú Ayé: His name means “Father of the World”. In the syncretic Afro-Cuban religion, he is also the Catholic Saint Lazarus. He represents skin afflictions and contagious diseases, especially venereal diseases and epidemics. His color is deep purple, and his day, December 17.

Babalú Ayé, 2016TriptychAcrylic, strings of beads, and fabric on burlap17.5 x 76 | 17.5 x 23.5 | 17.5 x 76 inches

ARTISTS


JOSÉ BEDIA

“Piango Piango Llega Lejos” (Step by Step, We Go Far) is a Palo Monte proverb in the Kongo language. These words of wisdom call for knowledge with prudence and speak of patience and good judgment as a basic requirement for success. The words can also refer to a long journey. The artist paints the entire piece without paint brushes; he uses only his hands to depict Babalú Ayé’s journeys. Bedia upends the concepts of perspective and vanishing point, which first emerged during the Renaissance in Western visual art. Instead, the artist reconnects the symmetry of traditional cultures as an attractive and legitimate resource. The composition contains several references to the religious ritual and initiation rites of Palo Monte or “Trees of the Sacred Forest”. Marks, in the form of an “S” or a cross, sketched on the canvas represent fine “cuts” on the initiate’s skin; graphic symbols called signatures or “firmas” allude to a system of cosmograms; and the small branches propped against the canvas are “palos” (which refer to the wooden sticks used in religious ceremonies).

Palo Monte: A complex system of shamanistic beliefs and practices of Bantu origin that has evolved in Cuba since the introduction of slavery. This magical cult is based on an intense interaction between its practitioners and the spirits in nature who rule all things. Palo Monte practice is based on establishing relationships with the dead.

Step by Step, We Go Far, 2018Site specific installationAcrylic on canvas, branches, fabric, rope, chains and clay139 x 192 inches

ARTISTS


ARIEL CABRERA

Starting in art school Ariel Cabrera has had constant interaction with collectibles, artwork, and documents relating to the collection of a historical memory of Cuba. These material testimonies have become strange and truthful fonts of information that differ with the narrative promoted by the official institutions of Cuba, concerning the history of the struggle for independence, which has remained unchanged as the official history of a unilateral doctrine. Cabrera’s works of art are a contrasting revision of this official history, and the “act of painting” constitutes in and of itself, the rescue of a record that has legitimatized certain repre-sentations of men, their customs and doctrines. This becomes a new historiography which subjects history to scrutiny. In his work, Cabrera selects images taken from archival materials to represent little-known aspects of Cuban history, and refers to early photography and its forms of dialogue with painting. His work presents military events from the struggles for the independence of Cuba during 1868-1878 and 1895-1898, creating a big collage of simultaneous events and supposed dialogues. “Tregua Fecunda”, is the name given by Jose Martí, the Cuban “National Hero”, to the period between wars, from 1878 to 1895. During these years the Cuban population had time to create the conditions needed to carry on the Big War

of 1895. The Cuban population, of course, increased. Cabrera assumes the role of the voyeur and magnifies, with some sarcasm, the sexual excesses in this interval of peace, appropriating the myth that Cubans are the most fun-loving and sexual beings on earth. Preparing for the war of 1895 also meant something less solemn as having fun, such as indulging in pleasures, violating and procreating. Sarcasm, erotic burlesque and playfulness are present in his works, either in romantic struggles or intimate scenes shaped as a campaign notes and short stories. Cabrera presents an ideological deconstruction of the almost sacred images of the solemn heroes (known as mambises) of the war of independence whose symbolism recurs in each stage of the battle; where the paradox is implicit, and the historical discourse is as an open approach between the truth and simulation.

Babalú Ayé, 2016 (next page)TriptychAcrylic, strings of beads, and fabric on burlap17.5 x 76 | 17.5 x 23.5 | 17.5 x 76 inches

ARTISTS


ARIEL CABRERA


ARTISTS


CELIA & YUNIOR

Documentation and meticulous recording are at the core of Celia & Yunior’s work. Their videos and installations utilize a methodology that always tries to show the gap between state-regulated use of goods and materials versus how they are actually used. Thousands of people operate in this fissure, however, in a pragmatic and illegal way, in order to survive in rough conditions. “We are very interested in institutions and administration systems, and how often an individual uses them according to their intended purposed,” says Yunior.

In Puzzle, someone anonymously assembles pipes fragments in order to make a weapon. These homemade objects, known on the Island as “injectors,” supplement the absence of firearms within the population; in Cuba the sale and possession of weapons is prohibited. Puzzle, which looks like a playful visual haiku, not only shows the ingenuity of many people who have almost nothing, but reveals a crack in which people can “border the illicit”, which is often faster than abiding by the rules of the establishment. It also reveals some hidden violence.

Puzzle, 2006Video 0’48”

ARTISTS


ALEJANDRO FIGUEREDO

In this two-channel video and audio work, the voices of Assata Shakur and Tania Bruguera reveal how activists are implicated in the complexity of Cuba’s new political situation after the announcement in December 2014 of the normalization of diplomatic relations with the USA. Bruguera is a Cuban performance artist whose works challenge the Island’s government. This has caused her activity within her home country to be strictly limited. Shakur was leader of the Black Liberation Army and a member of the former Black Panther Party. She fled the U.S. in 1984 to live in political asylum in Cuba. Shakur embraces the freedom that she finds in Cuba, a freedom that is now threatened by the new relations between the countries. Conversely, Bruguera exposes the inequities and lack of freedom in Cuba. Dissonance incorporates audio from two sources: a phone call Bruguera made to her sister in January 2015, after Bruguera was arrested and banned from performing a piece where she intended to place a microphone in Havana’s Revolutionary Square; and Shakur’s reading of her letter written to the Pope in 1998. In May 2013, the F.B.I. made Shakur the first woman on its list of Most Wanted Terrorists, causing her to “drop out of sight” in Cuba since then. Both Bruguera and Shakur have been hailed as freedom fighters but, by their respective country’s definition, they are political dissidents.

Dissonance invites the audience to be a participant in the conversation of these two activists and simultaneously attempts to involve the viewer in unraveling the political contradictions buried between the lines of both statements against a “certain power.”

Dissonance | Disonancia, 2015TV monitors, headphones and kneeling pads

ARTISTS


RAFAEL DOMENECH FEAT. ERNESTO OROZA

Lately, Rafael Domenech has been seduced by the idea of space not only as an exhibition place but as an active entity of thinking and process. Collaboration is also a key notion of his current work. That’s why he is interested in inviting Ernesto Oroza to exhibit, as a way to incorporate ideas about partnering, sharing, and community. These works revolve around ideas of standardization, information, reuse, contamination, sedimentation, language, and means of production. Memory continues to occupy a preponderant place in his work. The sculptures, collages, and books contain information and materials gathered from the different urban contexts. Overlapping, the city is present as well. The shape of the table, for example, in which the viewer is involved in a more interactive process, questions the protocols between work, spectator, and institution and creates a new geography. This idea was inspired by “The Naked City”, a project by Guy Debord and his concept of drift.

As a result, all these works of abstract visuality enter into an engaging quarrel with the sociological and anthropological information contained in the pieces. They are abstract archives, depots of superposed cultures. These metaphors can summarize his work.

Collaborative System, 2017-2018 (next page)Mixed media installations, indoor and outdoor sculptures and table with books

Untitled, 2015Collage and woodVariable dimensionsPrivate Collection, NY

ARTISTS



RAFAEL DOMENECH FEAT. ERNESTO OROZA

ARTISTS


AIMÉE GARCÍA

It is possible that Aimée García is the most prolific Cuban self-portrait artist. In Cuba the use of the self-portrait is almost a political gesture. On the Island, everyone is taught the idea of the collective and the masses are surrounded by a discourse that nullifies any semblance of the self or individual initiative. García’s artwork goes against that doctrine. García proposes a new type of humanism, situating herself as the protagonist and the center of racial, domestic, historical, identity and social contradictions. With this series García returns to her “old” habit of installing the painting, using distinctive collage in her work. Here, she speaks of a strong existential asphyxia produced by the gags of censorship and daily life that exists on the Island. She denounces repression as well as resistance in a phallocentric and military context. García’s whole creation is an enigma. Her eye-catching works paradoxically show an immense nervousness and a curious tension between meekness and pitilessness, brittleness and robustness.

From the series Repression, 2018Oil on wood, fabric and thread fibers

ARTISTS


ROCÍO GARCÍA

Rocío García’s works, from A to Z, constitute an essay on the tyranny of the norm, the fascist binaries and phallocentric totali-tarianism that have governed the West. Power and pretense are her great obsessions. In this series, García radicalizes the military horse-breaker and the intrigue of The Thriller. She underscores the omnipresence of power and its astute capacity to fragment into multiple personalities. The little rabbit appears throughout this whole series and is her symbol for freedom and inner peace. It is a mental projection that is the visual space of the “I,” ungovernable.

White magic. From the series The return of Jack the punisher 2012Oil on canvas78.7 x 85.4 inches

ARTISTS


Homoerotic passages, the sadomasochism in some scenes, and the abusive transactions between characters and systems are common elements in all of her productions. Micro-scale pretexts comment on major schemes: totalitarian misogyny and the absolute control of power. This behavior, no matter how irrational or libertine it seems, is methodically documented by García to the most minute degree. No other Cuban artist, past or present, has even tangentially approached the topic of the homoerotic, while García has rendered it systematically and with brutal honesty and courage. This topic is only one of her platforms for discussion to deal with broader themes. In this series García goes beyond static painting, appealing to the screenplay and the cinematographic sequence. Film Noir’s intrigue, mistrust, and violence are reflected in the works’ titles in plots loaded with details. This work was exhibited at the National Museum of Fine Arts, Havana.

Sequence shot 12. Like the last blues. From the series The Thriller, 2006 (detail)Oil on canvas47.2 x 55.11 inches each

ROCÍO GARCÍA

ARTISTS


MANUEL MENDIVE

The work of Mendive is heavily influenced by the cults and the imaginary worlds of Afro-Cuban religions, especially the Yoruba people who came as slaves from West Africa to Cuba and other places. His paintings, installations, and sculptures are a fusion of patakíes (legends), memory, pain, and beauty. The recreation of all this generates a work where the metamorphosis of the living beings, of nature, and the decor of naïf appearance, warn of the pantheistic vocation of the artist, hence his favorite colors are green (vegetation), blue (sky and water), and earth colors. Of his work, Mendive stated: “The elements of Afro-Cuban culture are the stimulus and nourishment to build my discourse, the death, the life and everything that exists in them, the good, the evil and the most beautiful moments. To know everything that is in us is important to me. I live with my ancestors and with my gods. Long life to the world! ASHÉ.” In this installation, the peacock transformed in the sky personifies Oshun, the deity of the rivers, which represents the sublime and beautifuL. The Sun is the owner of the landscape. The gourds “receive” the water that metaphorically emanates from the work. El Paisaje y su Dueño showcases the artist’s skill as well as his interest in artisan and organic elements. An element often found in Mendive’s work is the use of cowrie shells, an object used by Santeros in their divinations.

Oshun (Ochun): Syncretized with Our Lady of El Cobre (Blessed Virgin Mary), patron saint of Cuba. The deity of the rivers and fresh water, personifies the love, the flattery, and fertility. Color: Yellow. Day: September 8.

The landscape and its owner, 2010Installation of acrylic on canvas, painted gourds, cowrie shells, fabric and metalVariable dimensions | Dimensiones variablesArtist collection | Colección del artista

ARTISTS


MANUEL MENDIVE

In this work, Mendive underlines the spiritual power of dreams and the vital impulse that they contain. The presence of the cowrie shells and larger-than-life figures refers to the symbiosis between man and nature. The bird stretching its wings stands anchored on the head of a sleeping figure. This image represents a paradoxical duality: dreams are connected to the spiritual and material world, and this union is the one that allows a human being to transcend.

I can dream, 2009Acrylic on canvas, cowrie shells and metal94 x 80 inches

ARTISTS


CARLOS MONTES DE ORCA

Carlos Montes de Oca is one of the most cerebral and versatile artists in the visual arts scene in Cuba. As a key exponent of what the artist calls expanded drawing he does not discard any media: video, painting, installation, photography. All his works are of very conceptual nature and visually attractive. In the current phase of his work, dominated by abstract painting, Montes de Oca wanted to prioritize a methodology based on random control as an expression of desired freedom. So, he invented a whole practice that grants a handmade and process-driven tint to the painting. The paintings presented here belong to this series of works. To achieve this result, Montes de Oca “paints” first on a nylon that transfers to the canvas, creating a kind of permeable work. With this process, he does not have to be too careful. He can work with accidents (cracks, pleats, etc.) and recombination, generating these textures. The nylon, removed at the end, works as varnish, skin, or sticker during the process. In these pieces, the artist tries to recreate the aerial views of crops, similar to those found in the visually graphic works of some pre-Columbian cultures. For Carlos Montes de Oca “a finished painting is like a dead animal. In this case the finished and dry layer can be detached from the nylon and is moldable, as part of a process that only ‘ends’ when you want (…) it’s the closest thing to freedom I know.”

Trance, 2017Acrylic on canvas78.7 x 118.1 inches

Shapeless essence No.1, 2016-2017Acrylic on canvas 56.4 x 47.3 inches

Dressed as context and leaping out into the unknown 2016-2017 (next page)Acrylic on canvas76.8 x 72.5 inches

ARTISTS


CARLOS MONTES DE ORCA

Carlos Montes de Oca is one of the most cerebral and versatile artists in the visual arts scene in Cuba. As a key exponent of what the artist calls expanded drawing he does not discard any media: video, painting, installation, photography. All his works are of very conceptual nature and visually attractive. In the current phase of his work, dominated by abstract painting, Montes de Oca wanted to prioritize a methodology based on random control as an expression of desired freedom. So, he invented a whole practice that grants a handmade and process-driven tint to the painting. The paintings presented here belong to this series of works. To achieve this result, Montes de Oca “paints” first on a nylon that transfers to the canvas, creating a kind of permeable work. With this process, he does not have to be too careful. He can work with accidents (cracks, pleats, etc.) and recombination, generating these textures. The nylon, removed at the end, works as varnish, skin, or sticker during the process. In these pieces, the artist tries to recreate the aerial views of crops, similar to those found in the visually graphic works of some pre-Columbian cultures. For Carlos Montes de Oca “a finished painting is like a dead animal. In this case the finished and dry layer can be detached from the nylon and is moldable, as part of a process that only ‘ends’ when you want (…) it’s the closest thing to freedom I know.”

Trance, 2017Acrylic on canvas78.7 x 118.1 inches

Shapeless essence No.1, 2016-2017Acrylic on canvas 56.4 x 47.3 inches

Dressed as context and leaping out into the unknown 2016-2017Acrylic on canvas76.8 x 72.5 inches

ARTISTS


GEANDY PAVÓN

Vae Victis Vanitas is an ongoing project. These are portraits of former Cuban political prisoners who are currently living in exile in the United States. Throughout the 1960’s and 1970’s, the revolutionary government of Cuba jailed over 35.000 of its citizens as political prisoners. Some of them had ties to the dictatorship of General Fulgencio Batista, who was overthrown by the rebels led by Fidel Castro. Nevertheless, many members of the revolutionary army soon fell in disgrace and were also imprisoned, along with civil activists, previously identified with the tenets of the Revolution. Some of them were involved in counterrevolutionary activities that, sometimes recurred to violence. However, others were simply peacefully critical of the government’s leaders but were imprisoned as well. Upon their release, they were forced to leave their homeland and most of them migrated to the United States. Contrary to the success stories of Cuban American exiles, these are portraits of deception, of loss and frustration, but also of pride and perseverance as these individuals continued to nurture a Utopian Cuba, in spite of their harsh fortunes. Rather than pursuing the American Dream, like most immigrants do, they placed their hopes and aspirations in the restoration of a myriad of romanticized versions of Cuba, which aged and faded along with their lives.

Vanitas refers to the Baroque notion of the inevitability of death, and the transience and vanity of earthly achievements, including the noblest ones. These political actors embody the idea of futile resistance against the backdrop of their own mortality. In this sense, every photograph is taken having in mind not only the traditional genre of the documentary portrait but also the symbolic simplicity of a Vanitas still life. These political prisoners were representative of a cross-section of the Cuban society of the period. They came from a wide ideological and social spectrum, and they also were demographically diverse. Nowadays, they meet every Tuesday at the Unión de Ex-Presos Políticos Cubanos, at the heart of the Cuban community in Union City, New Jersey.

Vae Victis Vanitas, 2015-2016 (next page)Digital Print | C-Print from a scanned negative Printed Area: 24 x 24 inches each

ARTISTS


GEANDY PAVÓN

ARTISTS


RENÉ PEÑA

Black and white, the concept of duality, and his own body are vital components of the photographs of René Peña. His body functions as an aesthetic and autobiographical device to talk about racial and gender issues, about taboos, marginalization, and clichés. The body also operates as a unifying element and as a path of knowledge. Whether with a minimalist treatment or with a carefully narrative scene as in Solitaire, his photos contain a strong theatrical touch. Peña says, “My work is basically about the relationship between individuals and a particular social group –how the individual keeps trying to have his own identity even though he can’t escape his social group and society in general. We all have our institutions –family, religious, athletic, whatever –and they carry their own ideologies with them. We can’t escape them. We’re all institutionalized but we all think we’re individuals. This duality is what motivates my work.”

White hands of shame, 2015 (next page)Pigment inkjet print24 x 31.4 inchesEdition 3/10

Black Shoes. From the series Untitled Album, 2007Pigment inkjet print31.4 x 31.4 inches

Solitaire. From the series The Cook, the Thief, his Wife and her Lover, 1994Pigment inkjet print24 x 31.4 inchesEdition 1/10

Untitled. From the series Untitled Album, 2007Pigment inkjet print24 x 31.4 inchesArtist proof

Untitled. From the series Untitled Album, 2007Pigment inkjet print24 x 31.4 inches

ARTISTS


RENÉ PEÑA


White hands of shame, 2015Pigment inkjet print24 x 31.4 inchesEdition 3/10





ARTISTS


CARLOS QUINTANA

For Quintana, painting is an act of faith. His works have a big dose of frenetic intuition and art critics always affirm that the topic of his work is the painting itself. But, rooted in an excellent drawing style, his pieces show his interest in Afro-Cuban and Eastern religions, from which he is influenced, and also of not accepting the binary logic of the modern thinking. There are hybrids and androgynous characters in all of his works. Many scholars emphasize his unorthodox way of painting, through spitting, urinating, and pouring beer on the canvas. His technique is evident in each painting: intense, vital, very physical, performative, and vigorous.

Untitled, 2010 (right)Oil on canvas86 x 71 inches

Deer and white super casserole, 2011Oil on canvas79 x 98 inchesPrivate Collection, NY

Untitled | Sin título, 2010Oil on canvas | Óleo sobre lienzo68 x 59 inches

ARTISTS


SANDRA RAMOS

Havana has always been a cosmopolitan and megalomaniacal city. Transitory celebrities from all over the world have passed though since colonial times. Seawall is a picturesque summary, bringing together Ramos’ stock characters to speak to the passing spectacle: Columbus, Uncle Sam, Jose Martí, comic book and comic strip characters, Alice in Wonderland... Havana’s seawall welcomes multitudes of all races and creeds, and it’s also one of Cuba’s borders. Ramos speaks of the ideological fricassee that is today’s Cuba and the passing of the baton from one generation to another in relation to the Cuban revolution.

Seawall | Malecón, 2013Video, 4’18”

ARTISTS


SANDRA RAMOS

Sandra Ramos’ artwork is a coherent set of engravings, installations, paintings, objects, and videos. She addresses themes of insularity, emigration, the absence of freedom, political isolation, power transition in Cuba, and her own autobiography through a range of characters and stereotypes that have permeated Cuba’s visual imagery for the last hundred years. Her alter-ego fuses self-portrait as a child, a Dutch princess, and Alice in Wonderland, one of the artist’s favorites. She’s a dreamer, a lover of freedom, and a believer in good causes. The characters Fool and Liborio (see below for definitions) are also systematically woven into this insular apocalypse. Ramos reuses and redefines these distinctive and symbolic caricatures from Cuba’s pre-1959 Republic in order to critique the current Cuban reality. The characters contribute an apparent sincerity and naiveté to Ramos’ universe.

Bobo de Abela (Abela’s Fool): In 1926, the painter Eduardo Abela created this androgynous character whose face is shaped like the female buttocks. An icon of Cuban caricature, Bobo appeared in the Cuban press until around 1936, when Gerardo Machado’s dictatorship imposed repression and censorship. Abela’s Bobo denounced the excesses of that period, “playing the fool” by “speaking without speaking,” making “innocent” comments, and pretending not to understand.

Liborio: Attributed to Ricardo Torriente, this thin, bearded man represents the Cuban people. He circulated in the Cuban press from the first decade of the twentieth century until 1931. Sad, cunning, nationalist, and anti-imperialist, he carries a machete and is always ready to excoriate successful political figures. Liborio is “the embodiment of the national frustration and impotence.”

Relay Race, 2010DiptychEtching and aquatint on paper7.5 x 19.01 inches each

Cutting the Cake, 2010Etching and aquatint on paper19.6 x 23.6 inches

Trojan Horse, 2017Etching19.6 x 35.4 inches

Leviathan, 2017Etching19.6 x 35.4 inches

ARTISTS


Perpetual Movement of the Gusano between Two Shores reflects the continuous and commonplace practice of trafficking and exchanging consumer products among Cubans who live on the island and abroad and travel back and forth. The term gusano literally means worm and was used by officials to slur Cubans who fled the revolution. More recently, Cubans call large duffle bags — lightweight but with huge capacity — gusanos. Given the perpetual scarcity of essential household goods, Cubans who can travel between Cuba and foreign shores purchase, transport, and import all kinds of products — televisions, washing machines, toys, clothes, and the most basic hygiene products like soap, toothpaste, sanitary napkins in bulk — for personal and family consumption and/or to sell on the black market. The sheer bulk of consumer goods forces Cubans to use this oddly-shaped baggage. Hence, the giant duffle bags, boxes, plastic-wrapped bundles, and oversized suitcases are iconic of a complex burden, especially in contrast to the frugal carry-on luggage average travelers take on most flights. One of Ramos’ pivotal themes has always been the question of emigration, and she uses her artwork to define and symbolize its symptoms and mutations. For example, she exposes the semantic interpretations of the gusano as Cuban defector and luggage-mutated-into-lifeline. Paradoxically, in recent years, many Cuban “defectors” have returned to deliver large amounts

of consumer goods to the Cuban people; both kinds of gusanos are well received on the island. Ramos’ installation rotates in perpetual motion, like an airport baggage carousel, revealing the trip, the shortfalls, and the phenomenon of the neverending.

Perpetual Movement of the Gusano between Two Shores2018Installation comprised of rotating platform, light box, digital print, and large duffle bag

SANDRA RAMOS

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SANDRA RAMOS

Humans have always been curious about what exists after death. Heavens is a book dedicated to the mystery of death and the hope that something neverending exists beyond it. Ramos’ piece alludes to Edgar Allan Poe’s poem The Raven, in which the bird reveals itself as the Messenger of Death, croaking “Nevermore”. Other references to Franz Kafka and The Gospels seek to express the mystery that remains within us, as human beings — a parallel universe of material nonexistence. Ramos invokes art, literature, and human thought as a means to achieve transcendence and, on some level, temporal immortality.

Heavens, 2015BookPrint on paper and mirror17.7 x 29.72 inches

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GRETHELL RASÚA

Grethell Rasua’s work can be defined as the beauty of the scatological and the scatology of beauty. Her performance, installation and video works essentially lead us to somatic and immediate reflections, imbued with complex discursive constructions about love, eroticism, beauty, pain, femininity, and political or intimate spaces. In many of her pieces, for example, – About Permanence and Other Necessities –, her own body is the best argument, a kind of presence that both perceives and enunciates at the same.

About Permanence and Other Necessities, 2014Video, 6’01”

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Monument of the Great Living Artist is a performance inspired by the essay “Why Have There Been No Great Women Artists?” (1971) by US art historian Linda Nochlin. In the text, Nochlin explores the institutional obstacles that have prevented women in the West from succeeding in the arts. In the performance, Romagoza appears as her alter-ego “Cuquita, the Cuban doll.” Cuquita poses for the audience while reciting with her Cuban accent fragments of Nochlin’s essay “Why Have There Been No Great Women Artists?” that she recorded along with songs by Cuban singer La Lupe. At the end of the performance, she will read: “American Feminism as it stands is a white middle-class movement,” (Anna Mendieta). “The Choice is yours. Say it but with an accent” (Cuquita, the Cuban doll). In the current political and social turbulence, the topic of feminism has been brought to light in the mainstream media by celebrities, politicians and journalists exposing the disadvantages and oppression of women in a patriarchal society. However, there are still social groups excluded from the discussion, or not sufficiently represented. In Romagoza’s piece, she interacts with Nochlin’s essay as a Cuban female artist in the US, which adds more layers of complexity for women in the arts. Based on her experience as an immigrant, Romagoza seeks to rebuild a cultural home in New York and Havana while she positions herself within the art scene in the US in which she

doesn’t often feel represented. The performance explores what it means to achieve greatness for the so-called “minority artist.” Entities of power like museums, institutions, academia and the art market play an essential role in categorizing artist into tidy boxes. “Cuquita, the Cuban doll” as a character dismantles the notion of singular Cuban identity, and it overturns the stereotypes of Cuban art and artists, that are placed on Cubans by Western supremacy.

Monument of the Great Living Artist, 2018Closing PerformanceArtist body, magazine clippings, paper, tape, gold acrylic, pedestal, garment, music, speakers

YALI ROMAGOZA

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VIDEO GROUP

Pastime | Pasatiempo, 2004 (next page)Video, 4’46”

DIANA FONSECA

The body speaks in the past tense, 2007Video, 3’35”

CELIA & YUNIOR

Mental landscape, 2009Video, 2’38”

JUAN-SÍ GONZÁLEZ

Possible destinations, 2009Video, 10’05”

LUIS GÁRCIGA

The use of video art in Cuba emerged during the early nineties. In spite of its short history, we can trace some tendencies and qualities: Cuban video art does not follow a specific canon because, among other reasons, a department of video art did not exist at the Superior Institute of Art or peer institutions. Only recently, thanks to the personal initiative of artists Luis Gómez and

Antonio Margolles, did the art school create a teaching post in new technologies. Within the visual arts, making videos is seen as an extension of individual expression, not a separate medium, or a legitimate independent field of study. “Videastas” (Cuban video artists) are not filmmakers in strict sense, they are painters, printmakers or sculptors, even art critics, who also create videos clearly linked to their body of work and often included in their major exhibitions. The island’s video artists prioritize content over form and the actual making of the video. In many cases, the works are defective and of low quality and suffer from a mono soundtrack, in part due to the technological precariousness of the early nineties — and even today— along with the penchant of Cubans to emphasize meaning over technology: the so-called “the good form of the bad forms.” One of Cuban video art’s strongest traits is the aesthet-icization of documentation; that is, documentation understood as depicting, almost pure reality or with a high percentage of veracity. It has become a useful tool when collective memory loss prevails. Often these works have strong sociological characteris-tics. These videos were chosen because they illustrate some of the subject matter explored by the artist of video creations in Cuba: memories, dreams, the exile experience, the nonsense of life, the deconstruction of the figure of the leader, and the absence of viable projects for most Cubans are some of them.

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VIDEO GROUP


White hands of shame, 2015Pigment inkjet print24 x 31.4 inchesEdition 3/10





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CREDITS

Exhibition Curators: Elvia Rosa Castro and Gretel Acosta

Events and workshops co-coordinator, WFU liaison for community engagement: Professor Linda S. Howe

Translators: Linda S. Howe & Mari Isasi-Diaz

Interns: Elizabeth Agnelli-Berndt, Abby Bowman & Benjamin Brooks

SECCA Staff: Executive Director Gordon Peterson, Alex Brown, Lara Carpenter, Cliff Dossel, Wendy Earle, Lynn Jessup, Carl Martin, Sherri Peterson, Deborah Randolph, Katherine White

Layout: Dieiker Bernal

This exhibition was made possible by Marley Drug

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Collaborative System, 2017-2018

ABOUT THE CURATORS

Elvia Rosa Castro Martín

Elvia Rosa Castro Martín (Sancti Spíritus, 1968). Castro obtained her Philosophy Degree and a Masters in Art History at the University of Havana, Cuba. She is currently an independent art curator, art critic and editor. Castro is also the CEO of the art blog Señor Corchea, the first independent blog created in Cuba to promote Cuban artists and exhibitions. She has been awarded two Calendario Prizes in Essay (both in 1997), as well as the Juan Francisco Elso Fellowship (2000), National Prize of Curatorship (2005), the Grant de IFA-RAVE Foundation, (2007) in Germany, and the National Prize of Art Critique Guy Pérez Cisneros, 2011.Her texts have been published in several art journals and she has published six books as the solo author: La conjura de los fieles (Ed. Abril, 1998), El mundo como ilusión y apariencia (Ed. Abril, 1998), Erizando las crines (Ed. Matanzas y aldabón, 2001), El observatorio de Línea. Repasos al arte cubano (Ed. Unión, 1998), Aterrizaje. Después de la crítica de la razón cínica (Editorial Luminaria, 2011) and Los colores del ánimo (Detrás del Muro Ediciones, 2015). Elvia Rosa Castro has curated and co-curated big exhibitions at prestigious locations such as Moving fast. European Media Art Festival, Osnabrueck, Germany, 2007; Arboleda. El cuerpo es cuerpos, León, Guanajuato, 2008; Reality Show. Confluencias Inside II, Hispanic Cultural Center, Albuquerque, 2009; Glamour de Occidente. Algunos homenajes a Michel Foucault, Bienal de La Habana, 2009; Portugal Arte10, 2010; Ya sé leer. Imagen y texto en el arte latinoamericano. Centro Wifredo Lam, 2011; Escapando con el paisaje, Bienal de La Habana 2012; Tócate. Jóvenes fotógrafos. Galería Habana, 2013; Libros sin

dominio, Bienal de La Habana, 2015. She has been co-curator of Detrás del Muro (Behind the Wall) Project in it’s two editions at the Havana Biennal.She has lectured at Wisconsin University; Wake Forest University, NC; Otterbein University, Ohio; Institut für Romanistik, Potsdam Universität; Lateinamerika-Institut, Freie Universität, Berlín; Institut für Romanistik, Humboldt-Universität, Berlín; Kunsthøgskolen, Bergen, Noruega; Norges Teknisk-Naturnitenskapelige Universitet, Trondheim, Noruega; Instituto de Arte, Guadalajara, México; Universidad Veritas, Costa Rica; Centro de Teoría y Arte Teorética, Costa Rica; Higher Institute of Art, Havana; Tania Bruguera Art Behavior Workshop, Havana. As adjunct professor at the University of Havana, she taught several courses at the Faculty of Arts and Philology and has advised many theses at the University of Havana and at the Higher Institute of Art.

Gretel Acosta

Gretel Acosta (Havana, 1989) is graduated from the University of Havana in Art History (2014). She has been awarded with the Remake, Curatorial Grant Issued by the Center for Development of Visual Arts of Cuba for her collateral collective show NANO at the Twelfth Biennale of Havana, and recently, she receives the UNCG Inclusiveness Award to study the Master of Arts in Languages, Literatures, and Cultures in this University.

ARTISTS


Southeastern Center for Contemporary Art

750 Marguerite DriveWinston-Salem, NC [email protected]

HOMEContactExhibitionJose BediaAriel CabreraCelia & YuniorAlejandro FigueredoRafael DomenechAimee GarciaRocio GarciaManuel MendiveCarlos Montes De OrcaGeandy PavonRene PenaCarlos QuintanaSandra RamosGrethell RasuaYali RomagozaVideo GroupCreditsProgramCurator CV

Home 45: Exhibition 45: Artists 45: Contact 45: Program 71: Home 44: Exhibition 44: Artists 44: Contact 44: Program 70: Jose Bedia: Ariel Cabrera: Celia: Rafael: Alejandro: Diana: Aimee: Rocio: Luis: Juan: Manuel: Carlos: Geandy: Rene: Carlos Q: Sandra: Grethell: Yali: Home 43: Exhibition 43: Artists 43: Contact 43: Program 69: Curators 33: Jose Bedia 2: Ariel Cabrera 2: Celia 2: Rafael 2: Alejandro 2: Diana 2: Aimee 2: Rocio 2: Luis 2: Juan 2: Manuel 2: Carlos 2: Geandy 2: Rene 2: Carlos Q 2: Sandra 2: Grethell 2: Yali 2: Home 42: Exhibition 42: Artists 42: Contact 42: Program 68: Curators 32: Jose Bedia 3: Ariel Cabrera 3: Celia 3: Rafael 3: Alejandro 3: Diana 3: Aimee 3: Rocio 3: Luis 3: Juan 3: Manuel 3: Carlos 3: Geandy 3: Rene 3: Carlos Q 3: Sandra 3: Grethell 3: Yali 3: Home 41: Exhibition 41: Artists 41: Contact 41: Program 67: Curators 31: Jose Bedia 4: Ariel Cabrera 4: Celia 4: Rafael 4: Alejandro 4: Diana 4: Aimee 4: Rocio 4: Luis 4: Juan 4: Manuel 4: Carlos 4: Geandy 4: Rene 4: Carlos Q 4: Sandra 4: Grethell 4: Yali 4: Home 40: Exhibition 40: Artists 40: Contact 40: Program 66: Curators 30: Jose Bedia 5: Ariel Cabrera 5: Celia 5: Rafael 5: Alejandro 5: Diana 5: Aimee 5: Rocio 5: Luis 5: Juan 5: Manuel 5: Carlos 5: Geandy 5: Rene 5: Carlos Q 5: Sandra 5: Grethell 5: Yali 5: Home 39: Exhibition 39: Artists 39: Contact 39: Program 65: Curators 29: Jose Bedia 6: Ariel Cabrera 6: Celia 6: Rafael 6: Alejandro 6: Diana 6: Aimee 6: Rocio 6: Luis 6: Juan 6: Manuel 6: Carlos 6: Geandy 6: Rene 6: Carlos Q 6: Sandra 6: Grethell 6: Yali 6: Home 38: Exhibition 38: Artists 38: Contact 38: Program 64: Curators 28: Jose Bedia 7: Ariel Cabrera 7: Celia 7: Rafael 7: Alejandro 7: Diana 7: Aimee 7: Rocio 7: Luis 7: Juan 7: Manuel 7: Carlos 7: Geandy 7: Rene 7: Carlos Q 7: Sandra 7: Grethell 7: Yali 7: Home 37: Exhibition 37: Artists 37: Contact 37: Program 63: Curators 27: Jose Bedia 8: Ariel Cabrera 8: Celia 8: Rafael 8: Alejandro 8: Diana 8: Aimee 8: Rocio 8: Luis 8: Juan 8: Manuel 8: Carlos 8: Geandy 8: Rene 8: Carlos Q 8: Sandra 8: Grethell 8: Yali 8: Home 36: Exhibition 36: Artists 36: Contact 36: Program 62: Curators 26: Jose Bedia 9: Ariel Cabrera 9: Celia 9: Rafael 9: Alejandro 9: Diana 9: Aimee 9: Rocio 9: Luis 9: Juan 9: Manuel 9: Carlos 9: Geandy 9: Rene 9: Carlos Q 9: Sandra 9: Grethell 9: Yali 9: Home 11: Exhibition 11: Artists 11: Contact 11: Program 61: Curators 25: Jose Bedia 10: Ariel Cabrera 10: Celia 10: Rafael 10: Alejandro 10: Diana 10: Aimee 10: Rocio 10: Luis 10: Juan 10: Manuel 10: Carlos 10: Geandy 10: Rene 10: Carlos Q 10: Sandra 10: Grethell 10: Yali 10: Home 12: Exhibition 12: Artists 12: Contact 12: Program 60: Curators 24: Jose Bedia 11: Ariel Cabrera 11: Celia 11: Rafael 11: Alejandro 11: Diana 11: Aimee 11: Rocio 11: Luis 11: Juan 11: Manuel 11: Carlos 11: Geandy 11: Rene 11: Carlos Q 11: Sandra 11: Grethell 11: Yali 11: Home 13: Exhibition 13: Artists 13: Contact 13: Program 59: Curators 23: Jose Bedia 12: Ariel Cabrera 12: Celia 12: Rafael 12: Alejandro 12: Diana 12: Aimee 12: Rocio 12: Luis 12: Juan 12: Manuel 12: Carlos 12: Geandy 12: Rene 12: Carlos Q 12: Sandra 12: Grethell 12: Yali 12: Home 14: Exhibition 14: Artists 14: Contact 14: Program 58: Curators 22: Jose Bedia 13: Ariel Cabrera 13: Celia 13: Rafael 13: Alejandro 13: Diana 13: Aimee 13: Rocio 13: Luis 13: Juan 13: Manuel 13: Carlos 13: Geandy 13: Rene 13: Carlos Q 13: Sandra 13: Grethell 13: Yali 13: Home 15: Exhibition 15: Artists 15: Contact 15: Program 57: Curators 21: Jose Bedia 14: Ariel Cabrera 14: Celia 14: Rafael 14: Alejandro 14: Diana 14: Aimee 14: Rocio 14: Luis 14: Juan 14: Manuel 14: Carlos 14: Geandy 14: Rene 14: Carlos Q 14: Sandra 14: Grethell 14: Yali 14: Home 16: Exhibition 16: Artists 16: Contact 16: Program 56: Curators 20: Jose Bedia 15: Ariel Cabrera 15: Celia 15: Rafael 15: Alejandro 15: Diana 15: Aimee 15: Rocio 15: Luis 15: Juan 15: Manuel 15: Carlos 15: Geandy 15: Rene 15: Carlos Q 15: Sandra 15: Grethell 15: Yali 15: Home 17: Exhibition 17: Artists 17: Contact 17: Program 55: Curators 19: Jose Bedia 16: Ariel Cabrera 16: Celia 16: Rafael 16: Alejandro 16: Diana 16: Aimee 16: Rocio 16: Luis 16: Juan 16: Manuel 16: Carlos 16: Geandy 16: Rene 16: Carlos Q 16: Sandra 16: Grethell 16: Yali 16: Home 18: Exhibition 18: Artists 18: Contact 18: Program 54: Curators 18: Jose Bedia 17: Ariel Cabrera 17: Celia 17: Rafael 17: Alejandro 17: Diana 17: Aimee 17: Rocio 17: Luis 17: Juan 17: Manuel 17: Carlos 17: Geandy 17: Rene 17: Carlos Q 17: Sandra 17: Grethell 17: Yali 17: Home 19: Exhibition 19: Artists 19: Contact 19: Program 53: Curators 17: Jose Bedia 18: Ariel Cabrera 18: Celia 18: Rafael 18: Alejandro 18: Diana 18: Aimee 18: Rocio 18: Luis 18: Juan 18: Manuel 18: Carlos 18: Geandy 18: Rene 18: Carlos Q 18: Sandra 18: Grethell 18: Yali 18: Home 20: Exhibition 20: Artists 20: Contact 20: Program 52: Curators 16: Jose Bedia 19: Ariel Cabrera 19: Celia 19: Rafael 19: Alejandro 19: Diana 19: Aimee 19: Rocio 19: Luis 19: Juan 19: Manuel 19: Carlos 19: Geandy 19: Rene 19: Carlos Q 19: Sandra 19: Grethell 19: Yali 19: Home 21: Exhibition 21: Artists 21: Contact 21: Program 51: Curators 15: Jose Bedia 20: Ariel Cabrera 20: Celia 20: Rafael 20: Alejandro 20: Diana 20: Aimee 20: Rocio 20: Luis 20: Juan 20: Manuel 20: Carlos 20: Geandy 20: Rene 20: Carlos Q 20: Sandra 20: Grethell 20: Yali 20: Home 22: Exhibition 22: Artists 22: Contact 22: Program 50: Curators 14: Jose Bedia 21: Ariel Cabrera 21: Celia 21: Rafael 21: Alejandro 21: Diana 21: Aimee 21: Rocio 21: Luis 21: Juan 21: Manuel 21: Carlos 21: Geandy 21: Rene 21: Carlos Q 21: Sandra 21: Grethell 21: Yali 21: Home 23: Exhibition 23: Artists 23: Contact 23: Program 49: Curators 13: Jose Bedia 22: Ariel Cabrera 22: Celia 22: Rafael 22: Alejandro 22: Diana 22: Aimee 22: Rocio 22: Luis 22: Juan 22: Manuel 22: Carlos 22: Geandy 22: Rene 22: Carlos Q 22: Sandra 22: Grethell 22: Yali 22: Home 24: Exhibition 24: Artists 24: Contact 24: Program 48: Curators 12: Jose Bedia 23: Ariel Cabrera 23: Celia 23: Rafael 23: Alejandro 23: Diana 23: Aimee 23: Rocio 23: Luis 23: Juan 23: Manuel 23: Carlos 23: Geandy 23: Rene 23: Carlos Q 23: Sandra 23: Grethell 23: Yali 23: Home 25: Exhibition 25: Artists 25: Contact 25: Program 47: Curators 11: Jose Bedia 24: Ariel Cabrera 24: Celia 24: Rafael 24: Alejandro 24: Diana 24: Aimee 24: Rocio 24: Luis 24: Juan 24: Manuel 24: Carlos 24: Geandy 24: Rene 24: Carlos Q 24: Sandra 24: Grethell 24: Yali 24: Home 26: Exhibition 26: Artists 26: Contact 26: Program 46: Curators 10: Jose Bedia 25: Ariel Cabrera 25: Celia 25: Rafael 25: Alejandro 25: Diana 25: Aimee 25: Rocio 25: Luis 25: Juan 25: Manuel 25: Carlos 25: Geandy 25: Rene 25: Carlos Q 25: Sandra 25: Grethell 25: Yali 25: Home 27: Exhibition 27: Artists 27: Contact 27: Program 45: Curators 9: Jose Bedia 26: Ariel Cabrera 26: Celia 26: Rafael 26: Alejandro 26: Diana 26: Aimee 26: Rocio 26: Luis 26: Juan 26: Manuel 26: Carlos 26: Geandy 26: Rene 26: Carlos Q 26: Sandra 26: Grethell 26: Yali 26: Home 28: Exhibition 28: Artists 28: Contact 28: Program 44: Curators 8: Jose Bedia 27: Ariel Cabrera 27: Celia 27: Rafael 27: Alejandro 27: Diana 27: Aimee 27: Rocio 27: Luis 27: Juan 27: Manuel 27: Carlos 27: Geandy 27: Rene 27: Carlos Q 27: Sandra 27: Grethell 27: Yali 27: Home 29: Exhibition 29: Artists 29: Contact 29: Program 43: Curators 7: Jose Bedia 28: Ariel Cabrera 28: Celia 28: Rafael 28: Alejandro 28: Diana 28: Aimee 28: Rocio 28: Luis 28: Juan 28: Manuel 28: Carlos 28: Geandy 28: Rene 28: Carlos Q 28: Sandra 28: Grethell 28: Yali 28: Home 30: Exhibition 30: Artists 30: Contact 30: Program 42: Curators 6: Jose Bedia 29: Ariel Cabrera 29: Celia 29: Rafael 29: Alejandro 29: Diana 29: Aimee 29: Rocio 29: Luis 29: Juan 29: Manuel 29: Carlos 29: Geandy 29: Rene 29: Carlos Q 29: Sandra 29: Grethell 29: Yali 29: Home 31: Exhibition 31: Artists 31: Contact 31: Program 41: Curators 5: Jose Bedia 30: Ariel Cabrera 30: Celia 30: Rafael 30: Alejandro 30: Diana 30: Aimee 30: Rocio 30: Luis 30: Juan 30: Manuel 30: Carlos 30: Geandy 30: Rene 30: Carlos Q 30: Sandra 30: Grethell 30: Yali 30: Home 32: Exhibition 32: Artists 32: Contact 32: Program 40: Curators 4: Jose Bedia 31: Ariel Cabrera 31: Celia 31: Rafael 31: Alejandro 31: Diana 31: Aimee 31: Rocio 31: Luis 31: Juan 31: Manuel 31: Carlos 31: Geandy 31: Rene 31: Carlos Q 31: Sandra 31: Grethell 31: Yali 31: Home 33: Exhibition 33: Artists 33: Contact 33: Program 39: Curators 3: Jose Bedia 32: Ariel Cabrera 32: Celia 32: Rafael 32: Alejandro 32: Diana 32: Aimee 32: Rocio 32: Luis 32: Juan 32: Manuel 32: Carlos 32: Geandy 32: Rene 32: Carlos Q 32: Sandra 32: Grethell 32: Yali 32: Home 34: Exhibition 34: Artists 34: Contact 34: Program 38: Curators 2: Home 35: Exhibition 35: Artists 35: Contact 35: Program 37:

Documents

VISUAL WORKS by Cuban Artists SECCA · 2018. 9. 19. · with its formal mastery, but also because it brings to light peculiar and intense cultural and social discourses, displayed