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  • Nkame Oregon | Belkis Ayón

    NKAME: A RETROSPECTIVE OF THE CUBAN PRINTMAKER BELKIS AYÓN (1967-1999) Jordan Schnitzer Art Museum, University of Oregon, Eugene, Oregon, United States ​ February 6 - September 5, 2021 ​ The traveling exhibition Nkame: A Retrospective of the Cuban printmaker Belkis Ayón (1967-1999) was inaugurated on February 6, 2021, at its seventh venue, the Jordan Schnitzer Art Museum. A project developed by this prestigious institution and the Belkis Ayón Estate, Havana, Cuba. The exhibition is curated by Cristina Vives. Exhibition Tour Management by Landau Traveling Exhibitions, Los Angeles, CA. Photographs by Jonathan Smith. For more information, visit the Jordan Schnitzer Museum of Art website

  • Colectivas1 | Belkis Ayón

    COLLECTIVE EXHIBITIONS Renderings. New Narratives and Reinterpretations Mechanical Hall at Delaware University, Philadelphia, United States September 3 - 30, 2014 Read more Havana Factory, Old Havana, Havana, Cuba. ​ May 23 - August 23, 2014 ​ ​ Glances Read more Without Masks. Contemporary Afro-Cuban Art. Museum of Anthropology (MOA), University of British Columbia, Johannesburg Gallery of Art, Vancouver, Canada, Johannesburg, South Africa ​ May 2 - November 2, 2014 Read more Shanghai Urban Planning Exhibition Center (SUPEC), Shanghai, China ​ March 3 - April 8, 2014 Rolling they meet. The Art Collection from the National Council of Plastic Arts Read more In the heat of the thought. Works from the Daros Latinoamérica Collection Santander Group City Art Room, Madrid, Spain February 3 - April 30, 2010 Read more previous Next

  • Orlando Hernández | Belkis Ayón

    Belkis Ayón. The preamble to an infinite journey to earth. ​ ​ Norberto Marrero December 1, 1999 © Extramuros, 1, December 1999, pp. 25-26 ​ ​ For us, weary of the tumult and bad nights, reaching Alamar (land of promise) meant, among other things, being able to verify that there was still a full place, devoid of hatred and betrayal; a castle where we could exercise ourselves in the greatest and clearest spiritual tranquility. Then Belkis would appear with her enormous eyes of an Egyptian goddess, she ushered us in, and no one dared to let go of her spirit anymore, and we would be left hanging comfortably by her smile, her contagious optimism. I see Belkis as that mysteriously invulnerable woman, ready to offer us the best spaghetti in Havana and the clearest beer, capable of satiating the appetite, thirst, and fatigue of the most demanding traveler; I see her there with her kind and enthusiastic face, giving each of us a torrent of affection and vitality. When I met her in San Alejandro, I was just another student in the evening course with an avid interest in printmaking. She was already the artist that everyone admired, a teacher of two groups of students in the day course, quite numerous. With somewhat excessive persistence, in which I silently slipped away among her disciples and patiently waited for each moment of respite to ask her any technical or conceptual concerns, to which she responded without the slightest qualm, without the slightest suspicion. At the end of my four years of studies we had become very good friends, and by chance, almost always unpredictable, she ended up being the opponent of my thesis. I remember her as one of those essential teachers, very concerned for her students from San Alejandro, to whom she gave all her knowledge about engraving, including very expensive materials that she managed to buy on her travels, or others that were donated to her by foreign friends; catalogs and all kinds of information that he managed to collect. For a long time, the Chair of Engraving of Saint Alexander survived thanks to his unrelenting interest. She was an irreplaceable friend, and I can't stop thinking about her eyes, with her always encouraging words. For Cuban culture, impeccable work will remain, overflowing with perfection and constancy, of exquisite elegance. A path opened by someone who dedicated a large part of his days to specially promoting Cuban engraving, with unquestionable seriousness and professionalism. For Cuban culture, it is the gross and useless loss of an artist who with her scarce thirty-two years managed to climb the highest levels of national and international culture in the plastic arts, with an astonishingly mature work, of great originality and spiritual depth. . For those of us who loved her, for those of us who were by her side, something more intimate, more imperishable, will remain. We will be left with his goodness, his disinterested way of giving himself, his concern for everything that meant the well-being of his family and his friends, which was the same; his desire to always achieve a fair and happy future for artists and friends. I remember now when he received one of the prizes from the Puerto Rico Engraving Biennial, one of the most important graphic arts events on the continent. It was a moderately happy surprise for her; I could assure you that he received it with a certain amount of modesty. However, I very well remember her inordinate joy and pride when Abel (1) visited La Huella Múltiple, and with her, he toured each of the exhibition halls, which he had appreciated in their exceptional quality. I looked at his eyes and could perceive endless wonderful thoughts, plans for engraving, opportunities never latent before as up to that moment, and then we remembered all the difficulties to carry out the event, the early mornings of work at the UNEAC putting together the catalogs, the money that was not enough and that much of it came from his pocket; the difficulty of assembling many of the pieces, the fatigue, the sleep, and although we always had the conviction that La Huella ... would cost us a lot, now, while we talked about Abel and all that, we knew deep inside that the effort would not it had been in vain. Her work as Vice President of Plastic Arts at UNEAC, for many of the engraving artists who knew her, was a saving dream; there was someone who gave engraving its true importance, such a laborious technique and so much tradition in Cuban culture. Belkis was not only a very responsible artist but also was absolutely affordable for any artist, not only for the most important but also, since they paid special attention, to those less known, less "privileged". He had a special agglutinating capacity, thanks to which he carried out any event, counting not only on the engravers but also on the sculptors, the photographers ... To all this he gave himself with absolute devotion, leaving aside, even, his own work of creation. Today, while making the same trip that I did so many times, I think about the time that Eliseo left us (2), and I cannot conceive of including Belkis in that immaterial, insubstantial time; I try to understand their essences, their latitudes, and I cannot manage their body and spirit through those labyrinths. For some, it is the unspoken and irreversible end. For others it is one of her many trips, one of which inexplicably sometimes she returned very depressed, even having done very well professionally. For me, it is neither one nor the other. I still know that he will be there, in his castle (and ours), waiting for the first traveler, thirsty, spreading his arms. I know this is absolutely true and I don't want to be fooled. We share too many joys, too many sorrows, too many truths, and although for all this means a selfish and terribly devastating loss, we will try to be calm. I wonder about the things that we did not say to each other, because of how dark no one perceived, about the things that we did not understand, and then I think: ​ How else would I see suicide, if not as a prelude of a fervent banquet, and tell each other why it would be worth very little to strip ourselves of our sardonic sorcery as if all our anguish ended there, where the water runs transparent and the salt shines like gold vomited by a goat. How else would we see emptiness. One and the other are voracious objects that our exhausted youth possesses, a relic of knowledge that is spent so inevitably like our children. Love accompanies bodies when they die. A fine line divides the stones and desire. Patience. Before the yew tree, patience. After the desserts, slow and infinite patience. Then I arrive at the door of that wonderful castle. When it opens the door she appears, says "hello", and her huge eyes pull me, Apprehending me for all eternity ​ (1) - Abel Prieto, Minister of Culture of the Republic of Cuba. (N. of the publisher) (2) - It refers to the Cuban poet Eliseo Diego and his poem "Testament", where he bequeaths to future generations "the time, all the time." (N. of the publisher) ​ PREVIOUS article back to texts

  • nkame curaduría | Belkis Ayón

    CURATORSHIP AWARD 2009 ​ July 1, 2010 Virginia Alberdi Benitez © Granma newspaper The National Council of Plastic Arts presents the CURATORSHIP AWARD to Cristina Vives for the NKAME. BELKIS AYÓN (1967-1999) ANTHOLOGICAL EXHIBITION. Curatorship Award 2009 Personal exhibition Title: Nkame. Belkis Ayón (1967-1999). Anthological Exhibition Date: September 11 - December 20, 2009 Place: San Francisco de Asís Convent, Havana, Cuba. The general direction of the project: Dra. Katia Ayón. Estate of Belkis Ayón Curator: Cristina Vives Invited curator for collateral exhibitions at Espacio Ayón: Cristina Figueroa Graphic design: Laura Llópiz Spot: Raúl Valdés (Raupa) Sponsors: National Council of Plastic Arts San Francisco de Asís Convent Belkis Ayón Estate The City Historian Office National Museum of Fine Arts, Havana Ericsson Air Europe PREVIOUS NEWS NEXT NEWS

  • Colectivas | Belkis Ayón

    COLLECTIVE EXHIBITIONS Estudio Figueroa-Vives / Norwegian Embassy, ​​El Vedado, Havana, Cuba ​ September - November, 2019 ​ ​ Towers and Tombs Read more Drapetomania. Tribute Exhibition to Grupo Antillano Galería de Arte Universal, Santiago de Cuba, Cuba / Consejo Nacional de Artes Plásticas, La Habana / 8th Floor Gallery, New York, United States / Museum of the African Diaspora, San Francisco, California, United States / The Ethelbert Cooper Gallery of African & African American Art, Harvard University, Boston, Massachusetts, United States. April 2013 - 2015 Read more Museo de Arte Maníaco, Alfredo Ramos's Colonial House, Línea106, Havana, Cuba. ​ October 26, 2014 ​ ​ Witches, but also warlocks Read more Havana, Cuba. ​ October 13, 2014 Eva leaves and takes flight. Eva stops being a rib Read more Dinner-auction within the framework of the sixth and last edition of the Leo Brouwer Chamber Music Festival Havana Cuba. ​ October 5, 2014 Read more Next

  • Early Work | Belkis Ayón

    BELKIS AYÓN: EARLY WORK Arthur Ross Gallery, University of Pennsylvania . . September, 2003 Text to the catalog: Rosemary Branson Gill. The sponsors: Massachusetts College of Art Massachusetts Cultural Council Spire ​ Belkis Ayón. Early works, is sponsored by Alex Rosenberg Fine Art, New York. Exhibition and reception presented in conjunction with Revolution and Representation: An International Conference on Contemporary Printmaking. This exhibition was presented at: 2003-2004 Resurrection. Belkis Ayón (1967-1999) Collographs from Cuba, Massachusetts College of Art, Arthur Ross Gallery, University of Pennsylvania and Brandywine Workshop, October 11-January 4, 2004, Philadelphia, Pennsylvania, United States. Co-sponsored by: Romance Languages ​​Department Latin American Women and Culture Studies Program Center for African Studies, University of Pennsylvania With the support of the Department of Religious Studies, Department of Arts, Center for African American Research, House of Latin and African Studies. Collaboration with the Brandywine Workshop and Alex Rosenberg Fine Art, New York.

  • nkame museo del barrio | Belkis Ayón

    NKAME: RETROSPECTIVE OF THE CUBAN RECORDER BELKIS AYÓN (1967-1999) Museo del Barrio, New York, United States ​ January 25, 2018 - April 29, 2018 The traveling exhibition Nkame: A Retrospective of the Cuban Printmaker Belkis Ayón (1967-1999) was inaugurated on June 13, 2017, at its second venue, Museo del Barrio, New York. A project organized by this prestigious institution and the Belkis Ayón Estate, Havana, Cuba. The exhibition is curated by Cristina Vives. Exhibition Tour Management by Landau Traveling Exhibitions, Los Angeles, CA. Photographs: Darrel Couturier, Yadira Leyva Ayón, and Courtesy of the Museo del Barrio For more information, visit the Museo del Barrio website Press coverage New York Times ​ The Village Voice one-of-2017s-best-shows / + & cd = 1 & hl = es-419 & ct = clnk & client = firefox-b-ab ​ Art by Excellencies ​ ArtNexus ​ Jacques and Natasha. GELMAN FOUNDATION ​ The opinion ​ Granma ​ Repeating islands ​ ARTS INITIATIVE. Columbia University in the City of New York ​ THE BROOKLYN RAIL. Critical perspectives on Arts, Politics, and Culture ​ Art geek ​ One Arty Minute ​ Ethnic Epicure ​ ​ Art Stack ​ Your New York Magazine ​ Artnet news What's the Best Work of Art you saw this Summer? 18 Well-Traveled Experts weigh in ​ ZEALnyc ​ The Tempest ​ Harlem One Stop ​ New Yorkio ​ OnCuba Billboard June 30, 2017 ​ Afro-Cuban Directory ​ ​

  • Revelaciones | Belkis Ayón

    REVELATIONS Restlessness / Restlessness Belkis Ayón Manso ​ January, 1998 When Darrel Couturier sent to request by fax the title for this exhibition he still did not have it, he had not even thought about it, to be honest. That day I had a great commitment to attend the opening of the first personal exhibition of two of my students. After finishing my work as a spectator and as a guardian angel (teacher), I went to my friend Cristina's house where I would meet Rafa who would bring the letter to Darrel with the title of the exhibition. When I left this other, nothing occurred to me - I went into a state of desperation imperceptible to the eye - again showing my moderate personality, less to laugh and do great colography ... READ MORE Confessions Belkis Ayón Manso ​ February 11, 1991 Some time ago I studied some of the components of our culture, on the African side, the carabalíes and of them the Abakuá Secret Society, made up only of men, a mutual aid and relief society, self-financed by its members. It resurfaces in the 30s of the 19th century in Cuba under other conditions and objectives very different from those of its African ancestors. There are people who feel and have the need to believe in something, which is inherent in human existence and one of those many examples is the following ... READ MORE

  • II Edición CNCBA | Belkis Ayón

    II National Collography Contest Belkis Ayón ANNOUNCEMENT The National Council of Plastic Arts, the Union of Writers and Artists of Cuba (UNEAC), and the Graphic Society of Cienfuegos, in coordination with the Estate of Belkis Ayón, the Provincial Council of Plastic Arts, the Provincial Committee of the UNEAC, The Cuban Fund of Cultural Assets, the Paradiso Cultural Agency and ARTEX of the Cienfuegos province, summon all interested artists to participate in the Belkis Ayón National Coloring Contest, in homage to one of the Cuban artists who marked, with her graphic work and pedagogical, a milestone in the history of Engraving in Cuba. Basis of Participation All Cuban students and artists with engravings made in the COLLOGRAPHY technique, printed between 2014 and 2015, who have not participated in a previous exhibition, event or contest, may participate. ​ Inscription The works must be sent unframed, through certified mail or in person, before March 10, 2015 to the Sociedad Gráfica de Cienfuegos, located at Ave. 50, # 2326, between Calle 23 and Calle 25, Cienfuegos 1 , Hundred fires. Tel. 043 517979. Each artist will have the right to present three works (independent or triptych) duly signed and numbered in pencil, which cannot exceed 60 x 80 cm (paper measurements). Workshops or artists tests are not accepted. ​ Selection A single Jury will be appointed to select and award the works received. The selected and awarded works will be exhibited in the Cienfuegos Art Gallery, within the program of the 9th La Estampa Fair, an event that will be inaugurated on April 7, 2015, at 9 p.m., at which time it will be official the jury's decision. The exhibition will remain open to the public for 30 days. Likewise, it will be presented at the Casa del Benemérito de las Américas Benito Juárez of the Office of the City Historian, Havana, in 2015. The selected artists will be given the Certificate of Participation once the exhibition is over, along with the return of their works within 45 days. The organizers of the contest are responsible for the care of the works sent, running with all the expenses generated by the return of the same to their authors. ​ Prize A single and indivisible Grand Prize will be awarded consisting of 3 000.00 MN (donation of the artists belonging to the Taller de la Sociedad Gráfica de Cienfuegos and the Estate of Belkis Ayón), a diploma and a reproduction of a work by the artist to which the contest is dedicated. The Jury will award mentions at its discretion, without financial award. The Jury's decision will be final. The winning works will become part of the Cienfuegos Stamp Cabinet. The awarded Artist will be invited to perform a personal exhibition at the Cienfuegos Art Center in 2017. The Belkis Ayón Residence, awarded to the award-winning artists, will run for a week; During this period, they will share experiences with prominent artists of contemporary Cuban plastic and engraving. Participating in the II Belkis Ayón National Coloring Contest implies acceptance of these Terms and Conditions. ​ More information Organizing Committee of the Belkis Ayón National Coloring Contest GRAPHIC SOCIETY OF CIENFUEGOS | 043 517979 ESTATE OF BELKIS AYÓN, HAVANA | 07 642 3083 | Jury Awards Members of the Jury of the II National Collography Contest together with members of the Estate of Belkis Ayón and La Sociedad Gráfica de Cienfuegos. Cienfuegos, 2015. Events and Exhibitions II National Collography Contest Belkis Ayon Cienfuegos, 2015 Selected Works and Exhibition Muestra Concurso Exhibition Marcando Territorio: Gráfica femenina de México Exhibition ¿Sólo uno tiene la verdad? Exhibition Con las mismas manos. Exposición colectiva de grabado Exhibition Paisajes Cercanos Exhibition Nocturno Collography Master Class by Miguel A. Lobaina

  • news NYTimes | Belkis Ayón

    NKAME: A RETROSPECTIVE OF THE CUBAN PRINTMAKER BELKIS AYÓN, SELECTED AMONG THE BEST ART OF 2017 BY THE NEW YORK TIMES December 8, 2017 Yadira Leyva Ayón © The New York Times The Nkame Exhibition: A Retrospective of the Cuban Printmaker Belkis Ayón, exhibited this summer at Museo del Barrio, New York (June 13 - November 5) was selected among the best of the art of 2017 by the New York Times, according to the selection of Holland Cotter, one of three New York Times art critics who shared his picks. Link to the article HERE Likewise, Holland Cotter, Art Critical Co-Director of The New York Times, reviewed the exhibition at Museo del Barrio, NY. Link to the article HERE PREVIOUS NEWS NEXT NEWS

  • rodando se encuentran | Belkis Ayón

    ROLLING THEY MEET Shanghai Urban Planning Exhibition Center (SUPEC), Shanghai, China ​ March 3 - April 8, 2014 Under the title Rolling they meet, the CNAP collection exhibited at the Shanghai Urban Planning Exhibition Center (SUPEC) a selection of its main acquisitions and thus an entire inventory of the most recent Cuban plastic production. It is a set that includes around one hundred artists from the most diverse generations, aesthetics and ways of doing, gathered in an exhibition that seeks to function as a kaleidoscope of the island's symbolic production. The show ran from March to April 2014, following a roaming tour of two other cities in China. Participating artists: Pedro Abascal, Eduardo Abela Torrás, Eduardo Abela Villarreal, Gustavo Acosta, Lidzie Alvisa, Douglas Arguelles, Belkis Ayón, Abel Barreto, Abel Barroso, Agustin Bejarano, Adigio Benitez, Osmany Betancourt, Jacqueline Brito, Servando Cabrera, Luis E. Camejo, Ivan Capote, Yoan Capote, Agustin Cárdenas, Sandra Ceballos, Rafael Consuegra, Raúl Cordero, Raúl Corrales, Arturo Cuenca, Duvier del Dago, Roberto Diago, Alberto Díaz (Korda), José A. Díaz Peláez, Humberto Díaz, Nelson Domínguez , Antonia Eiriz, Roberto Fabelo, Ernesto Fernández, Moisés Finalé, Adonis Flores, Flora Fong, Ever Fonseca, José Manuel Fors, José Franco, Gilberto Frómeta, José Emilio Fuentes, José Fúster, Eduardo Rubén, Osneldo García, Ernesto García Peña, Rocío García, Julio Girona, Luis Gómez, José Gómez Fresquet, José R. González, Javier Guerra, William Hernández, Maykel Herrera, Aisar Jalil, Fayad Jamís, Ruperto Jay Matamoros, Joel Jover, Tomás Lara, Alicia Leal, Evelio Lecourt, Glenda León , TO lberto Lescay, Kcho, Liudmila and Nelson, Rita Longa, Kadir López, Manuel López Oliva, Jorge López Pardo, Raúl Martínez, Rigoberto Mena, Janler Méndez, Manuel Mendive, Michel Mirabal, Ibrahim Miranda, Arturo Montoto, Elsa Mora, Juan Moreira and others.

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