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  • Al calor del pensamiento | Belkis Ayón

    AT THE HEAT OF THE THOUGHT. WORKS FROM THE DAROS LATINOAMERICA COLLECTION Santander Group City Art Room, Madrid, Spain . February 3 - April 30, 2010 Director Daros Latinamerica Collection: Hans Michael Herzog ​ The Daros Collection, one of the most important contemporary Ibero-American art collections in the world, arrives in Spain with an exhibition of 70 works and 22 artists presenting the current Ibero-American art from the aesthetic, conceptual, and allegorical aspects. The exhibition proposes a permanent interaction between the work and the public in a true challenge for the senses. “At the heat of the thought. Works from the Daros Latinamerica Collection ”, is the title of the exhibition that, from February 3 to April 30, 2010, is being organized by the Banco Santander Foundation in the Santander Group City Art Room. The Director of the Banco Santander Foundation, Borja Baselga, and the Director of the Daros Latinamerica Collection, Hans Michael Herzog, accompanied by several artists participating in the exhibition such as Julio Le Parc, Humberto Vélez, Oswaldo Macia Gómez, or Los Carpinteros inaugurated the exhibition together with the Commissioner, Katrin Steffen. “It is not just another exhibition,” said Borja Baselga, Director of the Banco Santander Foundation at the press conference, “each of the pieces has an intellectual, social background, a different way of approaching reality, the imaginary, to the extreme situations of our society ”. There are twenty-two artists and seventy creations that not only make up a selection of the highlights of the Daros Latinamerica Collection - the most important in Europe in contemporary Ibero-American art - but also reflect its essence in a spectacular assembly that continuously dialogues with the public through each and every one of his proposals from the conceptual to the aesthetic and allegorical, as Liliana Porter proposes so that we become transformers of her work by tearing it off and throwing it to the ground, constituting capricious forms. Also, noteworthy, for the first time in the Daros Collection is the exhibition of the work of José Damasceno, The Next Presage, Leandro Erlich, The Doors, various engravings by Liliana Porter, and the performance drawings by Marta Minujín. This is a journey through the classical masters of contemporary art from the Ibero-American continent from Mexico to Argentina passing through Brazil in a space of three thousand square meters. Prestigious authors not only aesthetic but also symbolic and committed, such as Carlos Amorales, Belkis Ayón, Los Carpinterios, José Damasceno, Gonzalo Díaz, Leandro Erlich, León Ferrari, Rafael Lozano-Hemmer, Jorge Macchi, Oswaldo Macia Gómez, Marco Maggi, Cildo Meireles, Marta Minujín, Vik Muniz, Óscar Muñoz, Julio Le Parc, Liliana Porter, José Alejandro Restrepo, Miguel Ángel Rojas, Betsabé Romero, Doris Salcedo and Humberto Vélez. A review of the extensive range of proposals that includes contemporary Ibero-American art - visual and auditory arts, virtual reality, social symbolism, modes of cognition and perception - from the most veteran present authors, León Ferrari (1920) and Julio Le Parc (1928 ) to the youngest such as Leandro Erlich (1973), Los Carpinteros (1971) or Carlos Amorales (1970). The title of the exhibition, At the heat of the thought, comes from a fascinating work by Chilean Gonzalo Díaz inspired by the 18th-century German poet, Novalis, specifically in the words which he begins his collection of fragments known as Blütenstaub (Pollen grains): "We look everywhere for the unconditioned and we find only things." The appointment is written by means of electrical resistances placed on ceramic tiles and it is heated at regular intervals until it turns red hot. This continuous interaction is what makes this show and its assembly unique. ​ A TOUR THROUGH THE EXHIBITION Ayate Car, by the Mexican Betsabé Romero, part happening and part installation is a Ford Victoria car decorated and upholstered in dry roses that dialogues in the foreground of the Room with the majestic tapestry of Brussels, The exaltation pf the Arts, woven at the end of the reign of Felipe IV in the workshop of Jan Leyniers and belonging to the Santander Collection. Ayate Car develops that committed aspect of Ibero-American art, by sending the artist this car from the 1950s from Mexico City to Tijuana, causing the illegal entry of the vehicle into the United States and immediate deportation, leaving the car in "no man's land" of the border as a symbol against the mistreatment of illegal Mexican immigration. Julio Le Parc, one of the classic voices of Ibero-American art, was inspired by sources outside the art system, using movement and artificial light as materials in his Lumières alternées, a rhythmic pulsation of lights and shadows with a view to transforming architecture in a moving force field. His photokinetic experiments allow him to analyze the visual process. Leandro Erlich, one of the youngest Argentine authors in the show, investigates optical illusions from a new perspective, using them as an artistic medium. In his installation The Doors, the public is faced with a series of locked doors, through whose cracks and keyholes the light filters in abundance. One can only open them. In Superficial Tension, the Mexican Rafael Lozano-Hemmer confronts the audience with a gigantic human eye that, through a monitoring system, records the movement that occurs around him, representing the intimate exchange between the work and the person who is contemplating it. The engravings of the Argentinean Liliana Porter show that the interaction between the public, the work, and the artist constituted the fundamental element of an aesthetic that emerged in the 1960s, whose purpose was to develop new forms of art beyond institutions and categories. In the middle of that decade, Porter founded the New York Graphic Workshop, a collective initiative aimed at disseminating works of art in series. The most paradigmatic example of this concept was To Be Wrinkled and Thrown Away where the title itself is responsible for providing instructions for use. Of the different artistic fields handled in the exhibition, another Argentine, Marta Minujín, presents several drawings of her most relevant public activities - known internationally for her performances and happenings - with which since the 1960s she has been radically questioning the relationship between art and public. Thus, in 1983, for example, he built a scale model of the Parthenon in Buenos Aires, his hometown, using books that had been censored during the Argentine dictatorship, whose drawing is exhibited in this exhibition. León Ferrari, the oldest artist on the tour, is often inspired by political motives, and his projects reveal another aspect of rampant urbanization and the resulting chaos. The series exhibited includes traffic arteries, cars, and stereotypical figures such as visions or caricatures of reality and was created in the early 1980s in São Paulo. Brazilian Cildo Meireles captures the symbiotic relationship of madness and reason in an enigmatic and global image mounted with rings and chains. Vik Muniz's WWW (World Map) —a world map made up entirely of out-of-date computer parts— wants to warn us in his work that the global network becomes the mere sum of its unconnected, useless components, ultimately seeking new definitions of the photographic media. The Cuban artists that form Los Carpinteros cooperative, resort to crazy drawings and objects to sketch a private world as a paraphrase of the present, sprinkling it with humorous allusions and abounding in sarcastic comments about everyday life in Cuba, such as their Wooden and Metal Umbrella. For its part, the also Cuban Belkis Ayón is inspired by the realization of her engravings as artistic meditations on the legends of the Abakuá, an Afro-Cuban secret society dedicated exclusively to men. The radio transmission of the exhibition space itself of a fictitious horse race incites the Panamanian Humberto Vélez in La Carrera (classic VII Biennial of Panama) to criticism and parody of competitive social systems. For his audio installation, titled Something Going On Above My Head, Colombian Oswaldo Macia Gómez composed a symphony based on the song of two thousand birds from four continents. He is interested in the development of a universal language as a challenge to perception. The installation on the Hotbed floor, by the Uruguayan Marco Maggi, resembles instructions to perceive slowness and silence, a kind of Zen garden with minimal creations from microscopic precision incisions made on snowy paper. The work invites the viewer to discover a new sculptural universe. Carlos Amorales has been working on his own language to express speech coding and intuitive perception, continually expanding the digital archive of images that have become his iconographic background. The Liquid Archive motifs — hybrid creatures, masks, airplanes, etc. — produce surreal and threatening parallel worlds. In his O presságio Seguinte (experience on the visibility of a dynamic substance), José Damasceno addresses the changing dimensions of a world in constant motion. The installation gives priority to proximity and encounter using physical stimuli (space, shapes, materials) to lead its viewers to the nodal point of the interpretive threads. Another Colombian, Oscar Muñoz, carries out an exhaustive analysis of the processes of perception and our ability to remember with Breath, where when we exhale our breath on glass the face of a disappeared person in Colombia emerges. Likewise, in the work of José Alejandro Restrepo, the role of death as a counterpart of life and co-architect is also revealed. Jorge Macchi fights against oblivion by providing press articles on murders in a fragile collage and emphasizing that news that readers often forget as soon as they turn the page. Placed horizontally, the articles finally enjoy space to narrate their tragedies. Marginalization and hegemony, as well as the effects of war, are the main artistic concerns of Miguel Ángel Rojas and Doris Salcedo. Rojas presents in large format black and white photographs a mutilated soldier of the Colombian army, whose posture reminds us of the famous David by Miguel Ángel. Doris Salcedo transforms political and social processes into disturbing sculptures - November 6 - that speak about desire and loss, of presence and absence, like this spectacular assembly of chairs and a room. ​ THE DAROS LATINAMERICA COLLECTION More than 1,300 pieces and 100 artists make up the Daros Latinamerica Collection, with a European headquarters in Zurich and an American branch in Rio de Janeiro. The collection was instituted in 2000 under the direction of Hans Michael Herzog and it includes the majority of contemporary artists from Mexico to Tierra del Fuego who have or will have an important impact on contemporary art from twenty years ago until now. Also, the collection presents emblematic pieces from the sixties and seventies and both Latin Americans residing in Europe and Europeans who have their definitive residence in Latin America. The oldest work in the Collection is a Torres García from 1938. Herzog affirms “the collection is as varied as the age of the artists, and what we want is to contribute to a better understanding of Ibero-American art outside its borders” since what fascinated him is that in these countries, "You think more intensely." Ruth Schmidheiny is the owner of this Collection. ​ Participating artists: Carlos Amorales, Belkis Ayón, Los Carpinteros, José Damasceno, Gonzalo Díaz, Leandro Erlich, León Ferrari, Rafael Lozano-Hemmer, Jorge Machi, Oswaldo Macia, Marco Maggi, Cildo Meireles, Marta Minujín, Vik Muniz, Oscar Muñoz, Julio Le Parc, Liliana Porter, José Alejandro Restrepo, Miguel Angel Rojas, Betsabeé Romero, Doris Salcedo, Hunberto Vélez.

  • Exposiones personales | Belkis Ayón

    SOLO EXHIBITIONS Phillys Kind Gallery, New York, 1998 Couturier Gallery, Los Angeles, California, 1998 St Barbara Church, Aachen, Germany, 1995 1989 Proposal at the age of twenty (Belkis Ayón and Isary Paulet), Servando Cabrera Art Gallery, December 23-January, 1989, Havana. . . 1990 Sikán Kien, Leopoldo Romañach Art Gallery, June 30, Caibarién, Villa Clara, Cuba. . Sikan Kien, the powerful and wise, Art Gallery III Congress, August, Ranchuelo, Villa Clara, Cuba. . . 1991 Sacred memory, Alamar Art Center, June 22, Havana / Art Center, Guantánamo, Cuba. . . 1992 Art Cubain Contemporain (Belkis Ayón and Eduardo Yáñez), Center d'Exposition de la Gare L'Annonciation, May 1-27, L'Annonciation, Québec, Canada. . Engravings, Saw Gallery, May 7, Ottawa, Canada. . . 1993 Evidences of vindication (Belkis Ayón, Isary Paulet, Ibrahim Miranda), Centro de Arte 23 y 12, October-November, Havana. . I always go back. Engravings by Belkis Ayón, Provincial Center of Plastic Arts and Design, November 30-December, Havana. . . 1994 I always come back, Galleria Colorenero, May 17-June 11, Milan, Italy. . Belkis Ayón and Santiago Rodríguez Olazábal, [Galleria] Cheiros, Palazzo Colonnese Valeri, December 8-January, 1995, Vicenza, Italy. . . nineteen ninety five I always go back. Personal exhibition Belkis Ayón, Grau Gallery, Visual Arts Development Center, July, Cienfuegos, Cuba. . Unterstütze mich, halte mich hoch, im Schmerz. Belkis Ayón (Hold me in pain. Belkis Ayón), Kirche St Barbara, November 3-19, Breinig / Ludwig Forum fur Internationale Kunst, Aachen, Germany. . . nineteen ninety six Belkis Ayón, Cuban artiste, Galerie Bourbon-Lally, April 19, Pétionville, Haiti. . Two Contemporary Cuban Artists: Belkis Ayón and Nelson Domínguez, Hofstra Museum, Hofstra University, April 21-August 2, Hempstead, New York, United States. . . 1997 Ángel Ramírez + Belkis Ayón. The New Wave of Cuban Art - I, Gallery gan, March 31-April 26, Tokyo, Japan. . Grand Pas de Trois. Sixth Biennial of Havana, (Norberto Marrero, Belkis Ayón and Juan Carlos Menéndez), Zulueta esq. a Refugio, 5th. floor, apt. 52, May 3-31, Havana. . . 1998 Desasosiego / Restlessness, Couturier Gallery, March 6-April 11, Los Angeles, California, United States. . Bernardo Marqués / Belkis Ayón, Havana Galerie, August 27-December 5, Zurich, Switzerland. . Belkis Ayón / Elsa Mora. Recent Work, Phyllis Kind Gallery, September 19-October 31, New York, United States. . Belkis Ayón & Ángel Ramírez. The New Wave of Cuban Art –II, November 6-December 20. Gallery Gan, Tokío, Japan. . . 1999 Rites. Photographies by René Peña; Collographies by Belkis Ayón, Bourbon-Lally Gallery, May 14, Pétionville, Haiti. . . 2000 I always go back. Collographies by Belkis Ayón. Tribute exhibition, Seventh Havana Biennial, Galería Habana, November 15-December 18, Havana. . . 2001 Images from silence. Collographies and matrices by Belkis Ayón, National Museum of Fine Arts, July, Havana. For a return. Collographies of Belkis Ayón, Caguayo Foundation, Provincial Center of Plastic Arts and Design, November 2, Santiago de Cuba, Cuba. . . 2002 Belkis Ayón. La Huella Múltiple 2002 (personal exhibition), April 19-May 19. La Casona Gallery, Havana. . . 2003 Belkis Ayón Early Work, Patricia Doran Graduate Gallery, Massachusetts College of Art, April 4-19, Boston, Massachusetts, United States. . . 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. . . I always go back. Collographies of Belkis Ayón, Recoleta Cultural Center, May 21-June 21, Buenos Aires, Argentina. Reunion. Exhibition of Belkis Ayón and his students. Exhibition in tribute to the artist, José Antonio Díaz Peláez Gallery, San Alejandro Academy, July 6, Havana. . . 2005 I always go back. Colographs by Belkis Ayón, Colón Art Gallery, June 3-30, Colón, Matanzas, Cuba. I always go back. Colografías of Belkis Ayon, Provincial Art Gallery Villa Clara, July, Santa Clara, Villa Clara, Cuba. . . 2006 Belkis Returns. Collographies of Belkis Ayón, Ranchuelo Art Gallery, February 3-28, Ranchuelo, Villa Clara, Cuba. The challenge of permanence. Anthological exhibition of Belkis Ayón (1967-1999), Pedro Esquerré Gallery, CPAV, May 12-June 11, Matanzas, Cuba. Belkis Ayón. Origin of a myth, Villa Manuela Gallery, October 6 to November 4, Havana. . 2007 Sikan. Revelation of a myth, Art Gallery Raúl Martínez, Jan. 17- Feb. 15. Ciego de Avila, Cuba. . . 2009 Nkame. Belkis Ayón (1967-1999), Anthological Exhibition, San Francisco de Asís Convent, September 11 - December 20, Havana, Cuba. . .

  • 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

  • Entrevistas | Belkis Ayón

    INTERVIEWS Talk about the myths of art. Interview with Belkis Ayón Jaime Sarusky ​ February 4, 1999 To tell the truth, it was not easy to interview Belkis Ayón, despite appearances, that is, his youth, the recognition that his artistic work has had, his personality, that one would bet very accessible, frank and open as his laugh. But do not confuse such attributes with the vehemence, I would say even the passion, of the creator Belkis Ayón, the one who with steely lucidity knows the paths of yesterday and today of her work. And I'm sure tomorrow too. But his humility and pride, traits that coexist in many authentic artists, prevent him from sanctioning such a prognosis. Although in his heart every great artist knows that it is, the challenge to time is raised and time, in turn, challenges it. Time, for better or for worse, can do everything, except with the great art that resists it, transcends it and walks by its side with an ironic smile ... READ MRE In irregular confidence David Mateo ​ March 4, 1997 ... “It seems that your work aspires to become universal, I tell him, as he hands me a group of matrices on a small table in his apartment in Alamar. The first one represents a fish woman, beginning in the spiritual world of one between two Jicoteas women; but the poetic atmosphere that the relationship between each one of them acquires is so moving that the allegory of the Abakuá legend and its particularly liturgical iconography almost seems to diminish; I had already noticed something similar with the inclusion of the Holy Spirit in one of the winning works at the Maastrich International Biennial ... READ MORE

  • cena subasta | Belkis Ayón

    DINNER - AUCTION WITHIN THE EVENTS OF THE SIXTHAND LAST EDITION OF THE LEO BROUWER INTERNATIONAL CHAMBER MUSIC FESTIVAL Havana Cuba. ​ ​ October 5, 2014 Within the events of the Leo Brouwer International Chamber Music Festival in its sixth and last edition, a Dinner-Auction was held on Sunday, October 5, 2014 in the Scepter Salon of the Hotel Meliá Cohiba, a Dinner-Auction with the noble objective of raising funds for the Children's Room of the Oncological Hospital. In it, works by Cuban visual artists were put up for auction: Belkis Ayón, Eduardo Roca (Choco), Manuel Mendive, Roberto Fabelo, Alfredo Sosabravo, Alexis Leyva "KCHO", Esterio Segura, Moisés Finalé and Nelson Domínguez. Of which only with the sale of the works of Mendive, Fabelo and Finalé, it was possible to contribute with such a laudable purpose.

  • Critique | Belkis Ayón

    CRITIQUE Remembering Belkis Ayón, on the 10th anniversary of his physical disappearance. Isbel Alba . February 4, 2015 A date not to forget: In the collective imagination, September 11 has become a date of loss and pain after the terrorist attacks perpetrated against the Twin Towers, in New York, in 2001. However, today, I am going to highlight another item , perhaps more intimate because it is ours, perhaps more questionable because it was caused by our own design, leaving us incognito and the terrible feeling that accompanies certain misunderstood, bitter gestures. It is about the Cuban artist Belkis Ayón Manso (1967-1999) ... READ MORE Belkis Ayón. Preamble to an infinite journey to earth Norberto Marrero . December 1, 1999 For us, weary of the tumult and bad nights, arriving in 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 huge eyes of an Egyptian goddess, she ushered us in, and no one dared to let go of her spirit anymore, and we stayed hanging comfortably by her smile, her contagious optimism ... READ MORE The respectful arbitrariness of Belkis Ayón Orlando Hernandez . February 19, 1992 It does not seem unusual to me that it is a woman. Make it a woman again. That this woman is now called Belkis (and not Sikán or Sikanekue) does not change things at all. Nor that the setting, the time, the details turn out to be something different. The story is the same again. To be repeated. Unceasingly. As in the beginning of the myth, it is necessary for a woman to appear again. The same? Other? Perhaps it is indifferent. Every religious knows ... READ MORE

  • Exposiciones colectivas | Belkis Ayón

    COLLECTIVE EXHIBITIONS 1983 II National Salon of Plastic Arts. Middle Level Schools. Museo Nacional de Bellas Artes, Havana, Cuba. . 1986 VII Biennial of San Juan of Latin American and Caribbean Engraving [November 19/1986 February 28/1987]. Arsenal de la Marina, San Juan, Puerto Rico. . 1987 La Joven Estampa Award. Haydeé Santamaría Gallery, Casa de las Américas, Havana, Cuba. . Encounter of Engraving 87. National Museum of Fine Arts, Havana, Cuba. . III International Exhibition of Engraving, New Delhi, India. . . 1988 Malerei und Grafik aus Kuba [January-February]. Kunsthalle Rostock, Rostock, GDR Cuban Art in Boston [May 9-23]. Massachusetts College of Art, Administration Building, Boston, MA., United States. 3rd Hall of Awardees [May]. National Museum of Fine Arts, Havana, CUBA. First Exhibition of Cuban Graphics in Guadalajara [July 7]. Cabañas Cultural Institute, Museum Area, rooms 127 130, Guadalajara, Jalisco, Mexico. VIII Biennial of San Juan of Latin American and Caribbean Engraving [September 30-December 30]. Arsenal de la Marina, San Juan, Puerto Rico. II Latin American Biennial of Graphic Arts. Museum of Contemporary Hispanic Art (MOCHA), NY, United States. . . 1989 Tribute (collateral to the Third Havana Biennial) [November]. Alamar Art Center, East Havana, Havana, Cuba. The 15th International Independent Exhibition of Prints in Kanagawa'89 [November 23-December 10]. Kanagawa Prefectural Gallery, Kanagawa, Japan. . 1990 Intergrafik'90 [April 17-May 27]. Berlin, GDR 6th International Biennial Exhibition of Portrait, Drawings and Graphic. Tuzla 90 [July 31-October 31]. The Yugoslav Portrait Gallery, Tuzla, Yugoslavia. La Joven Estampa Award [October 13?]. Haydeé Santamaría Gallery, Casa de las Américas, Havana, Cuba. [November 22-December 9]. Kanagawa Prefectural Gallery, Kanagawa, Japan. Young Cuban Recorders. Nucleus of Contemporary Art, Joao Pessoa, Paraiba / Museu Assis Chatebriant, Campina Grande, Paraiba / Federal University Gallery, Rio Grande do Norte / Evasión Gallery, Sâo Paulo, Brazil. . . 1991 Seventh Triennale India 1991 [February 13-March 14]. Lalit Kala Gallery / Rabindra Bhavan / Bahawalpur House Complex, New Delhi, India. Challenge to colonization. Fourth Biennial of Havana [November 15-December 31]. National Museum of Fine Arts, Havana, Cuba. Contemporary Cuban Engraving. Fourth Biennial of Havana [November]. Colonial Art Museum, Havana, Cuba. The Second Bharat Bhavan International Biennial of Prints [December 9-31]. Roopankar Museum of Fine Arts, Bharat Bhavan, Bhopa, India. . . 1992 Silk Screen Prints from René Portocarrero Serigraphy Workshop [January 15-February 14]. La Peña Cultural Center, Berkeley, CA., United States. Von dort aus: Kuba [March 12-May 31]. Ludwig Forum für Internationale Kunst, Aachen, Germany. Africa in America [July 3-19]. Casa das Artes e da Historia, Vigo, Spain. The Cuban Round [July 4-August 31]. Van Reekum Museum, Apeldoorn, The Netherlands. X Mostra da Gravura Cidade de Curitiba / Mostra America, Afro America A. Spiritual Contribution X. Mostra da Gravura [Outubro 16-Dezembro 6]. Romário Martins House, Curitiba, Brazil. Young Recorders [October 16-December 6]. Provincial Center of Plastic Arts and Design, Havana, Cuba. 20 Cuban Plastics [November 12-?]. University Artistic Center, National University of Cuyo, Mendoza, Argentina. The 17th International Independante Exhibition of Prints in Kanagawa'92 [November 19-December 6]. Kanagawa Prefectural Gallery, Kanagawa, Japan. Art Festival, Shanghai, China. . 1993 La Joven Estampa Award [June August]. Haydeé Santamaría Gallery, Casa de las Américas, Havana, Cuba. 1st Internationale Grafiek Biennale [June 24-August 9]. Maastricht Exhibition and Congress Center (MECC), Maastricht, The Netherlands. Punti Cardinali dell'Arte. XLV Biennale di Venezia [Giugno-Ottobre]. Istituto Italo Latino Americano, Venezia, Italy. Empassant de Collectie [October 1-December 4]. Van Reekum Museum, Apeldoorn, The Netherlands. Encounter of Engraving '93 [October-November]. Provincial Center of Plastic Arts and Design, Havana, Cuba. With their own hands [December / 1993-January / 1994]. Engraving Gallery, Experimental Graphic Workshop, Havana, Cuba. Five Creative Women. Palacio del Segundo Cabo, Havana, Cuba. Graphica Creativa 93. The 7th International Print Triennial. Alvar Aalto Museum, Finland. . 1994 La Jeune Peinture Cubaine [Janvier 18-Février 11]. Maison de la Culture du Lametin, Fort de France, Martinique, France. Arte do momento [February 28-March 6]. Gessy Lever Social Center, Valinhos, Brazil. Art of the moment [Março 11-18]. Biblioteca da FURB, Blumenau, Brazil. Art of the moment [Março 23-29]. Auditorio Alceu Amoroso Lima, Brazil. Art of the moment [April 11-16]. Latin American Gallery, House of the Americas, Havana, Cuba. Vindication of the Engraving [March 24-?]. La Acacia Gallery, Havana, Cuba. Cuban Art of Today / Art Cubain Actuel [Avril 14-Mai 7]. Galerie de L'UQAM, Université du Québec à Montréal, Montréal, Québec, Canada. A gap between heaven and earth. Fifth Biennial of Havana [May July]. Provincial Center of Plastic Arts and Design, Havana, Cuba. Cuban Art. The Last Sixty Years [October 15-December 31]. Panamerican Art Gallery, Dallas, TX., United States. The Shapes of the Earth [February-March]. Buades Gallery, Madrid, Spain. Kunst aus Kuba [March-April]. Museum Bavaria, Zürich, Switzerland. One of Each Class. Ludwig de Cuba Foundation [March 26-?]. Center for Conservation, Restoration and Museology (CENCREM), Havana, Cuba. [Video catalog] International Exhibition of Contemporary Art of Non-Aligned Countries [April 28-June 30]. National Gallery, Jakarta, Indonesia. Kuba Kunst Heute. Grafiksammlug Schreiner [July]. Stadtgalerie Bamberg, Villa Dessauer, Bamberg, Germany. Made in Cuba [July August]. «Luis Miró Quesada» room. Cultural Center of the Municipality of Miraflores, Lima, Peru. Art of the Moment II. Cuba Mexico Brazil [July-August]. Espuela de Plata Gallery, Center for the Development of Visual Arts, Havana, CUBA. / [October]. Michoacan Institute of Culture, Michoacán, Morelia, Mexico. Cuban Mystic. Arte dell'ultima generazione [October 18-November 5]. Openspace, Palazzo dell'Arengario / [Ottobre 18-29]. Spazio Vigentina, Milano, Italy. . nineteen ninety five Current Cuban Plastic [October 24/1995 February 3/1996]. Fotocentre (Gallery of the Union of Journalists of Russia), Moscow, Russia / [1996]. Embassy of the Republic of Cuba, Beijing, China. . XI Mostra da Gravura Cidade de Curitiba [Outubro 31 December 29]. Fundaçao Cultural de Curitiba, Curitiba, Brazil. Contemporary Cuban Painting. Cuban Afro-Caribbean Painting Show [November 7-?]. Veracruzano Institute of Culture, Veracruz / [November 23-?]. "Ramón Alva de la Canal" University Gallery, Veracruzana University, Veracruz / [December 6-?]. Cabildos Room, CD. Mendoza, Veracruz / [December 18-24]. Town Hall, Orizaba, Veracruz, Mexico. Estampa Edition 95. International Exhibition of Engraving and Contemporary Art Editors [November 7-12]. Superior Room of the Old Spanish Museum of Contemporary Art, Madrid, Spain. 1st. Contemporary Cuban Art Salon [November 15/1995 January 15/1996]. National Museum of Fine Arts, Havana, Cuba. Warehouse Gallery, Lee, MA., United States. Alex Rosenberg Fine Art, NY, United States. . Women Beyond Borders [1995]. Wifredo Lam Center, Havana, CUBA. / [nineteen ninety five]. Santa Barbara Contemporary Arts Forum, Santa Barbara, CA., UNITED STATES. / [nineteen ninety six]. ICC Contemporary Gallery, Jerusalem, ISRAEL / [1996]. Kunstlerhaus, Graz, AUSTRIA / [August 7/1998]. Wifredo Lam Center, Havana, Cuba. . nineteen ninety six Dream World. Young Cuban Plastic [February-March]. House of America, Madrid, Spain. Zonder Woorden [March]. Van Reekum Museum, Apeldoorn, The Netherlands. Arte do Momento. Encontre Latino Americano de Artes [Março]. Pavilhâo Antonio Palácio Neto, Mons. Bruno Nardini Municipal Park, Valinhos, Brazil. Cuba 20th century. Modernity and Syncretism [April 16 June 9] Atlantic Center of Modern Art, Las Palmas de Gran Canaria / [July 2 September 1]. La Caixa Foundation, Palma de Mayorca / [October 8 November 17]. Center d'Art Santa Mónica, Generalitat de Catalunya, Barcelona, ​​Spain. Skulpturen und Grafische Werke aus Kuba [September 25-November 2]. Museum Leuengasse, Zürich, Switzerland. The budding womb. Contemporary Cuban Graphic Art Show [November-December]. Exhibition Hall, Faculty of Arts, University of Antioquia, Colombia. . Transgressing the Limits / Today as Yesterday. The Multiple Footprint. Collective Exhibition of Contemporary Engraving [December / 1996 January / 1997]. Visual Arts Development Center, Havana, Cuba. . 1997 ARCO'97 International Contemporary Art Fair [February 13-18]. Juan Carlos I Fair Park, Madrid, Spain. Represented by Galería Habana, Havana, Cuba. Pervasive Referents. Belkis Ayón, Attila Richard Lukacs, Elsa María Mora, Manuel Ocampo [April 19-May 31]. Phyllis Kind Gallery, NY, United States. '97 Kwangju Biennale. Unmapping the Earth. Speed. Hybrid. Power. Becoming [September 1-November 27]. Art Museum. Kwangju, South Korea. Take part in the «Hybrid» section. Polychrome of black. Contemporary Cuban art [September 11-?]. Quintana Monterde. Contemporary Art, Mexico, DF, Mexico. Encounter of Engraving'97 [November]. Visual Arts Development Center, Havana, Cuba. . . 1998 Comment peut-on être cubain? [Février 10-Mars 12]. Maison de L'Amérique Latine, Paris / [Juliet]. Counvent des Minimes, Perpignan, France. XII Biennial of San Juan of Latin American and Caribbean Engraving [April 30-September 30]. Arsenal de la Marina, Institute of Puerto Rican Culture, San Juan, Puerto Rico. ART BA'98. 7th Art Galleries Fair [May 15-24]. General San Martín Municipal Exhibition Center, Buenos Aires, Argentina. Contemporary Art of Cuba [June 2-July 5]. Urasoe Museum, Okinawa / [July 18-August 2]. Hillside Forum Daikanyama, Tokyo / [December 1-7]. Iwaki City Cultural Hall, Iwaki, Japan. Contemporary Art From Cuba: Irony and Survival on the Utopian Island [September 26-December 13/1998] Arizona State University Art Museum, Tempe, AZ./[January 15-May 2/1999] Center for the Arts at Yerba Buena Gardens, San Francisco, CA./[June 5-August 15/1999]. Canbrook Art Museum, Bloomfield Hills, Michigan / [September 4-November 7/1999]. Austin Museum of Art, Austin, TX. / [February 11-April 23/2000]. Grand Rapids Art Museum, Grand Rapids, Michigan / [May 19-September 10/2000]. Museum of Latin American Art, Long Beach, CA, / [October 10-December 10/2000]. University Art Museum, University of California, Santa Barbara, CA./[January 13-March 18/2001]. Spencer Museum of Art, University of Kansas, Lawrence, KS./[May 11-July 14/2001]. University of South Florida, Contemporary Art Museum, Tampa Bay, FL., United States. Creole Kongo. Artists in Crossroads. Boricua Gallery Workshop [October 23-November 20], NY, United States. Estampa Edition 98. International Exhibition of Engraving and Contemporary Art Editors [November]. Fairground of Casa Campo, Madrid, Spain. . 1999 La Huella Múltiple 1999. Center for the Development of Visual Arts / Center for Conservation, Restoration and Museology (CENCREM), [January 15-February 13], Havana, Cuba. The 4th Kochi International Triennial Exhibition of Prints [March 12-]. Kochi, Japan. Afro-Cuban Contemporary Graphic Art. Roca, Miranda, Torres and Manso [April 7-August 13]. The Kennedy Center, Washington, DC, United States. Working for English [May 14-June 27]. Concourse Gallery, Ground Floor and Stalls, Barbican Center, London, UK Rituals Contemporary Room [May-June]. House of the Americas, Havana, Cuba. International Fair of Modern and Contemporary Art [September 16-20]. Carrousel del Louvre, Paris, France. Kunst-Welten im Dialog [November 5/1999-March 5/2000]. Museum Ludwig, Cologne, Germany. Cuban art. Beyond paper [December 3-1999-January-2000]. Conde Duque Cultural Center, Madrid, Spain. Gallery Gan, Tokyo, Japan, 1997 Casa América, Madrid, Spain, 1996 Apeldoorn, The Netherlands, 1992

  • Exposiciones | Belkis Ayón

    EXHIBITIONS PE RSONAL EXHIBITIONS COLLECTIVE EXHIBITIO NS

  • Personales1 | Belkis Ayón

    SOLO EXHIBITIONS Fowler Museum, UCLA, Los Angeles, California, United States ​ October 1, 2016 - February 17, 2017 Nkame : A Retrospective of the Cuban engraver Belkis Ayón (1967-1999) ​ The exhibition Nkame: A Retrospective of the Cuban engraver Belkis Ayón will be inaugurated on October 1 at the Fowler Museum of UCLA, Los Angeles, California. This will be the artist's first personal exhibition at an institution in the United States. (...) Read more FRG Objects & Design / Art, Hudson, New York, United States August 2 - September 30, 2014 ​ Belkis Ayón. FRG Objects & Design / Art ​ The FRG OBJECTS & DESIGN / ART gallery, specialized in the art of design, from Hudson, New York, had the pleasure of presenting in August of last year, a collection of visionary pieces, rarely appreciated in the United States, by the Cuban artist Belkis Ayón (Havana, 1967-1999) (...) ​ Read more Convent of San Francisco de Asis, Old Havana, Cuba. September 11 - November 28, 2009 ​ Nkame : Belkis Ayón (1967-1999) Anthological Exhibition ​ This Nkame, synonymous with praise and salutation in the Abakuá language, is the title of the exhibition (and the eponymous book in the process of being edited) that will pay tribute, on the tenth anniversary of her physical disappearance, to a creator she left with her death a message of life (...) ​ Read more Patrician Doran Graduate Gallery, Massachusetts College of Art, Boston, Massachusetts, United States ​ April 8, 2013 ​ Belkis Ayón. Early work ​ After the successful presentations in different cities of the United States while traveling through this country, the exhibition Nkame. A retrospective of the Cuban engraver Belkis Ayón (1967-1999), arrives at the Station Museum in Houston, Texas. The exhibition (...) Read more Havana Gallery, Havana, Cuba ​ November 15, 2000 ​ I always return. Collographies by Belkis Ayón ​ Read more previous next

  • memrias | Belkis Ayón

    April 13, 2016 Yadira Leyva Ayón © Belkis Ayón Estate Belkis Ayón's work will be part of the exhibition "Memories" that will open next Thursday, April 14 at 6:00 pm in the Gallery Orígenes of the Gran Teatro de La Habana «Alicia Alonso». This exhibition brings together, in addition to Ayón's engravings, pieces by Ibrahim Miranda and Sandra Ramos, three of the most important contemporary artists of the 90s in Cuba. PREVIOUS NEWS NEXT NEWS

  • En cofidencia irregular | Belkis Ayón

    In irregular confidence David Mateo March 4, 1997 © LA GACETA DE CUBA Magazine, No 2, March / April 1997, year 35, p. 50-51.v ​ … Not a single word of anticipation or impatience. She knows that she is the main reason for this conversation and yet she waits patiently for Segura to finish explaining her sculpture project to me. I have the impression that I have seen her many times in that same deferential attitude, lavishing everything as if everything were superior to her. I do not even know if it is by adhesion or remembrance that I have come to think that his serenity has nothing to do with a marriage courtesy, but that even condescension continues to be his second virtue after colographies. “It seems that your work aspires to become universal, I tell him, as he hands me a group of matrices on a small table in his apartment in Alamar. The first one represents a fish woman, beginning in the spiritual world of one between two Jicoteas women; but the poetic atmosphere that the relationship between each one of them acquires is so moving that the allegory of the Abakuá legend and its particularly liturgical iconography almost seems to diminish; I had already noticed something similar with the inclusion of the Holy Spirit in one of the winning works at the Maastrich International Biennial. ​ To some extent I have always been distant from the Abakuá mythology because my position is rather that of an observer. Distance is precisely that perspective in which I place myself to establish analogies and incorporate any universal experience into the particular logic of myth. I could give you the example of the work Repentida, which was one of the winners in the recent Engraving Meeting, in it a woman appears tearing her skin as a symbol of the ambivalence between what we want to be and what we really are. It seems to me that the Abakuá theme is going to be the starting point for a long time, the pretext for comparisons with life. The universe that its characters and incidental narratives enclose is enough by itself to prefigure any reason for human existence, an equivalence that I have begun to glimpse much more now with the relationship studies that I am carrying out between the mythical Abakuá and Christian religiosity. , for the purpose of creating something of a kind of personal holiness. ​ -But won't you deny me that this process of interlinking between the specific circumstances of the myth and the social cosmogony is produced through a merely female speculation? Do you remember when I told you that you insert a feminine ideal where there never was? ​ I have never thought that my work is feminist. I've never had that built-in calling. The first person who tried to draw attention to this aspect was the critic Eugenio Valdés, and it may even be that there is some reason that my work induces a certain femininity, because it reflects my own existential uncertainty; but I have not conceptualized it that way. The legend of the Sikán is a theme that I have been working on in my engravings since San Alejandro and what has always caught my attention is the condition of victim of the female character, but from a rather generic position, weighing the connotations and the analogies that could be derived from such a situation. ​ And why then your insistence on self-representation? ​ It is true that I am the model of my figurations. They shift with me from one state to another continuously, and even lose weight along with me. They are characters that I submit because I like the idea of ​​deciding their destinies. They are the only alternative of revenge, or correction, lightening the term a little, with which I can count in reality; however I live a less mythical life, I exist from a much more objective perspective, much more objective. ​ The imposition of destinations should consequently alter the meaning of the Abakuá fiction that you allude to. Aren't you afraid of offending the legend? What do the believers you have come in contact with think of that? ​ The Abakuá who have valued my work are mostly intellectuals, and in one way or another they have identified with the project. So far I have not found any detractors. The very mystery of the legend, how hidden some of its meanings have been in the historical development is what has given me precisely the opportunity to make certain speculations, but my position has never been to recriminate the brotherhood, but for the contrary to respecting it and promulgating it in its broadest cultural sense. ​ In this part of the conversation we have already reviewed about six or seven matrices, meticulously delineated with synthetic material, sandpaper, carborundum, gesso and all kinds of rare products in the colographic tradition. It occurs to me to ask Belkis what could happen if all those singular montages that are already ready to give the effects that she has been anticipating, had been drawn or painted on a canvas, and that is when her frankness turns into stupor: ​ I have always been a very bad draftsman. Perhaps because they never demanded an Academy in the Elementary School studies, in the end I decided on engraving. Without realizing it I was creating a kind of trauma with drawing and painting and so I began to look for a type of image that was credible but did not emphasize anatomical delicacies. Then I discovered that with this synthesis of details I protected the mystery of the images more, and that I had to continue emphasizing poses, gestures, and gaze, trying to avoid certain definitions. I may one day get over the trauma and start painting, but I haven't thought about doing it yet. ​ What in your opinion are the immediate antecedents of all this form of representation of yours? ​ I really liked Russian Byzantine icons. I spent a good deal of time looking at them in art books, until one day I discovered that they were perfectly comparable to all Abakuá imagery. I remember that it was a time when I was researching Afro-Cuban cults and specifically the Anafouranas when something curious happened to me: I was in a class in San Alejandro trying to make a kind of dancing devil and Pablo Borges, who was my teacher at that time, told me with the spirit of being impressed, that what I was doing could bring me serious implications, and it was from that moment that I became interested in this type of representation; although in those days my approach to the matter was purely esoteric. In the libraries they denied me the information and enough I had to ask for a letter of authorization in the School. As far as the Legend of the Sikán is concerned, I consider that the reading I did of the book "El monte" by Lidia Cabrera was transcendental, although my awareness of the episode was total when I studied "Los Ñañigos" by Enrique Sosa. I have been about to comment to Belkis about two categories of the Canadian critic Northrop Frye: myth and commitment, which, although they were not issued specifically for the field of Plastic Arts, through them an approximate allegory of his work could also be attempted artistic. But I have only been on the verge of doing it, because in the end I have reserved it for myself, procuring a few more reasons for the literal intervals of this parliament. Something that may even run the risk of forced matching and that goes something like this: "The engravings of Belkis Ayón could be interpreted from the maxim of the critic Northrop Frye, in which he assures that art is" a laboratory where new myths of commitment were prepared, released. " Fabular selection occurs in her case by way of visual and epic identification, mediated almost entirely by a deeply feminine aesthetic rationality - which apparently does not mean the same as feminist, although it is an approach to a deeply macho myth. - We would say that your work assumes a story in which an unequivocal value judgment is represented, from the point of view of the sexual nature of the person who stars and transmits it, although that judgment provides or alludes to cosmogony phenomena such as good and evil, betrayal and sacrifice and the confrontation between victims and perpetrators, and it is precisely within those limits of chaos that she incurs, restoring patterns of behavior and imposing alternative roles. If it were allegories of Frye's notions, his "new myth of commitment" would lie in the fact of opposing a sense of critical analysis to the hermetic interpretation of the mythological event and also in the additional purpose of extending those same collation experiences towards other manifestations of the interhuman bond. Short tense ending and clearly blessed, where the speculator is relieved of his guilt complex: Belkis, it is one thing that I believe in the conformity of all our irregular conversations or our considerations about the plastic arts, and another that I go around commenting on vindications in Cuban engraving, relying on the work of 6 or 7 artists, among which I intend to include you by the way, without even having consulted you before. That is why I take the opportunity now: Am I or am I not right? ​ I believe that important technical concepts and principles are currently being revitalized in Cuban engraving. In my particular case, I would tell you that I am very interested in the level of discursive and aesthetic credibility that matrices can achieve in their final printing, and therefore I try to generate value effects, including color, by experimenting with novel materials. In other young engravers, the tradition has also been altered from many points of view, fundamentally with the experimentation of new supports, with the flexibility of the criteria on seriality with the dynamization, and sometimes even challenge or parody, of technical methods. habitual and in the very consolidation of the ethics of the trade ... and if all this can be called renewal, then I do not think it is bad that someone like you continues to comment on it. ​ PREVIOUS article back to texts

  • aglutinados | Belkis Ayón

    BONDED BETWEEN THE ESOTERIC AND MANIC ART October 6, 2014 Cecilia Crespo © OnCuba Magazine Under the title of Witches, but also Warlocks, the Aglutinador space and the Maniac Art Museum these days exhibit a sui generis exhibition that blends art with rites and religious beliefs from different parts of the planet. Celebrating its twenty years, this space for creation and exhibition directed by the artist Sandra Ceballos, brought together nearly fifty people in this exhibition where spirits, amulets, orishas, paranormal events, and energy are the protagonists. Artists, esoterics, astrologers, researchers, healers, ritualists, believers, practitioners, mystics, both Cuban and foreign, invoke magic, sensuality, and spirituality through various techniques, styles, textures, genres, and both conventional and experimental expressive possibilities. The show, made up of 38 works, can be seen until the end of this month in the colonial house of Alfredo Ramos, on Línea106, permanent headquarters of the Museum of Maniac Art in Havana. Sandra Ceballos told OnCuba that the exhibition is not about showing religious or folk art. The artistic intention is to excavate in the enigmatic presence of the "Eggun or dead as the matrix of all clandestine psychophysical phenomena, legitimize and qualify precisely those intelligent energies that do not sin as egocentric and that are possibly more authentic and spontaneous than the material world." “Defend their spokesmen, historically discriminated against and repressed by 'science'. To investigate the 'vaporous intervention' of spirits in life, that is the objective" she added. Bruges ... puts an extensive catalog for the consideration of disbelievers and faithful, impossible to visualize and enjoy all at once. It has works by renowned intellectuals and artists such as the researcher Natalia Bolívar, who exhibited her voodoo dolls in a glass case called "Five Spirits." You can see an installation with ashes of human corpses, by Iván Perera, from his series Immanents. Digital impressions of Álvaro José Brunet, Susan Bank, Rodney Batista also join the show together with works by Javier Alejandro Bobadilla Díaz, José Bedia and Juan Francisco Elso Padilla. A video installation by Tania Bruguera is exhibited that records the petition to the Pope to support the immigrant and undocumented community to apply for the 2014 Vatican City citizenship. You can also see an interesting photograph of the Colón Cemetery, in silver on gelatin, by Pedro Abascal from 1983. From Santiago Rodríguez Olazábal, recognized for addressing religious themes in his work, there is a large-format card: "Evil entered him from below." A video-projection of Marta María Pérez Bravo is included, one of the most spiritual pieces, without a doubt. The installation "EPD" by José Ángel Vincench: gold dust on sheets and candles and a painting from the 2010 Manuel Mendive National Prize for Plastic Arts, are other main attractions of the selection. The Canadian duo The Fastwurms (Kim Kozzi and Dai Skuse), with their medieval witch costumes, including a conical hat, arrived with their "Love is Law" installation of varying dimensions: a large spider web made of black bras. Also memorable is “Incompetent King” by Hugo Consuegra, ink and pen on cardboard (1959), and Roberto Diago's work, “Motivo de bosque”, a mixed technique on masonite from 1993, of great vitality and expression as much of his work. Espacio Aglutinador will continue to exhibit genuine and transgressive art as an “emergency room” and autonomous plaza for the promotion and development of Visual Arts, as its founder explains: “This exhibition gives continuity to the work of our non-exclusive space to disseminate the witchcraft of the world, from the dawn of humanity to the present day, passing through the traditions, religions, spells, enchantments, and philosophies of various places and historical moments. As has already been demonstrated on other occasions, Aglutinador is always renewing itself to create alternative projects to its alternativeness ”, concluded Sandra. PREVIOUS NEWS NEXT NEWS