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.

Exposiciones colectivas con la presencia de la obra de Belkis Ayón (1967-1999) 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

Entrevistas realizadas a Belkis Ayón por reconocidos periodistas cubanos. 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

Nkame Mafimba. Belkis Ayón Additional texts translated into German

NATIONAL COLLOGRAPHY CONTEST BELKIS AYÓN find out MORE

THE CALLALOO ART & CULTURE IN THE AFRICAN DIASPORA MAGAZINE, ILLUSTRATED ITS COVER WITH THE PIECE LA CENA, 1988 BY BELKIS AYÓN January 26, 2015 Yadira Leyva Ayón © Callaloo Art & Culture in the African Diaspora Magazine Issue 4 of the Callaloo Art & Culture in the African Diaspora Magazine illustrated its cover with the piece La Cena de 1988 by Belkis Ayón, of which we can find a dossier with more of her works and specific aspects of her artistic life. With interviews, historical articles, reviews, and dossiers of visual artists, the publication presents different aspects of the culture generated by the African diaspora in the American world. PREVIOUS NEWS NEXT NEWS

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

FRG: BELKIS AYÓN Gallery FRG OBJECTS & DESIGN / ART, Hudson, New York, United States. August - September, 2014 The FRG OBJECTS & DESIGN / ART gallery, specialized in the art of design, from Hudson, New York, had the pleasure of presenting in August last year, a collection of visionary pieces, rarely appreciated in the United States, by the Cuban artist Belkis Ayón (Havana, 1967-1999), from the private collection of Carole and Alex Rosenberg. The pieces could be appreciated in an environment designed in parity, complete harmony, and connection with these masterpieces of contemporary Cuban printmaking. The exhibition opened to the public until September 30, 2014.

BEHIND THE VEIL OF A MYTH NEW BOOK ABOUT THE WORK OF BELKIS AYÓN October 22, 2018 Yadira Leyva Ayón © Belkis Ayón Estate Behind the veil of a myth, with texts by the curator Cristina Vives, was produced by the Station Museum of Contemporary Art and the Belkis Ayón Estate. The book covers the most significant moments of her artistic career and offers an interesting virtual tour of the exhibition Nkame: A Retrospective of the Cuban Printmaker Belkis Ayón (1967-1999). The book is available at AMAZON PREVIOUS NEWS NEXT NEWS

COLLECTIVE EXHIBITIONS Ajiaco: Stirrings of the Cuban soul Lyman Allyn Art Museum, New London, Connecticut, United States September 12, 2009 - February 21, 2010 Read more Roots & More. Journey of the Spirits Afrika Museum, Berg en Dal, Holland April 7 - November 7, 2009 Read more Cuba, Mexico, United States, Portugal November 2006 - 2010 Confluences Inside Read more return to collective exhibitions

III Edición del Concurso Nacional de Colografía Belkis Ayón, 2017 III 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 officially 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 a 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 caceres69@azurina.cult.cu | 043 517979 ESTATE OF BELKIS AYÓN, HAVANA belkat@cubarte.cult.cu | 07 642 3083 www.ayonbelkis.cult.cu | www.ayonbelkis.co Jury Awards Members of the Jury of the III National Collography Contest Belkis Ayón. Cienfuegos, 2017. Events and Exhibitions III National Collography Contest Belkis Ayon Cienfuegos, 2017 Selected works and Exhibition Muestra Concurso Collateral Exhibitions

NKAME: A RETROSPECTIVE OF THE CUBAN PRINTMAKER BELKIS AYÓN (1967-1999) Station Museum of Contemporary Art, Houston, Texas, United States June 2 - September 3, 2018 After the successful presentations in different cities of the United States, the exhibition Nkame. A Retrospective of the Cuban printmaker Belkis Ayón (1967-1999), arrives at the Station Museum in Houston, Texas. The exhibition was inaugurated on the night of June 2 in an atmosphere full of friends, excellent music, and lovers of good art. The masterful curatorship of Cristina Vives, stood out on this occasion thanks to a curatorial idea that was brought to life, thanks to the efforts of the Museum staff and its Director James Harritas: many of the large-format works gained three-dimensionality when placed on individual walls, specially built for each piece, resulting in a very positive visual impact, as the pieces obtain an unprecedented monumentality. In addition, this exhibition will feature a book/catalog that will cover the exhibition and the life and work of Belkis Ayón, entitled Behind the veil of a myth . Produced by the Station Museum and the Belkis Ayón Estate, with texts by Cristina Vives and design by Laura Llópiz. The exhibition will be open to the public until September 3, 2018. Photographs: Ernesto León and Yadira Leyva Ayón