Historical photographs by Alberto Korda, Raúl Corrales, and other major documentarians of the 1960s are brought into dialogue with monumental paintings, video, and sculpture, by key artists such as Servando Cabrera Moreno and his dramatizations of peasants and workers in his painting Rebeldes de la Sierra (1961) and Raúl Martínez with his serialized portraits of political leaders in the painting Rosas y Estrellas (1972). Contemporary reinterpretations of national iconography include Tania Bruguera’s “ Estadística,” de la serie “Memoria de la postguerra” (1995–2000)-a Cuban flag made of bundles of hair sourced from her neighbors and friends-and Tomás Esson’s Bandera cubana (1990), which depicts the flag as a sinuous, physical body. The next section traces the development of Cuba’s revolutionary icons-including the Cuban flag, national leaders and rebel soldiers-from their origin in the 1960s to their various re-interpretations throughout the decades. More recent works-such as Yaima Carranza’s “Malevich,” de la serie “Tutoriales de esmalte de uñas” (2010), which transposes 20th-century compositions by Russian artist Kazimir Malevich into nail-polish patterns-turn a critical eye toward the gaps between revolutionary ideals and reality.Ĭult and Destruction of the Revolutionary Nation This is evident in Soldevilla’s geometric reliefs of the 1950s, Darié’s Pintura transformable (c.1950), and Mario Carreño’s Sin título (1954). These artists engaged with Constructivist counterparts abroad, abandoning representational art in favor of using line, color, and form as autonomous elements in their work. ![]() Artists Sandú Darié, Loló Soldevilla, and others in the 1950s sought to establish an avant-garde art group to introduce a universal approach to art, following a spirit of modernization. tour.Ībstraction: Universalism and Artistic LanguageĪdiós Utopia opens with an introduction to Cuba’s lesser-known “Concrete” art movement. Museum advisors on the project are Olga Viso, executive director at the Walker Art Center and Mari Carmen Ramírez, the Wortham Curator of Latin American Art at the MFAH, who organized the U.S. ![]() The narrative also provides access, in some cases for the first time, to the work of avant-garde pioneers of the 1950s, 60s, and 70s that continues to influence Cuban artists.Ĭonceived by CIFO Europa, the exhibition is curated by Cuban independent curators Gerardo Mosquera, René Francisco Rodríguez, and Elsa Vega. It focuses on the experiences of Cuban artists who lived and trained on the island, examining how they commented on and confronted the social and political programs set in motion by the Cuban Revolution through pivotal artistic movements from the 1960s to the 1990s. Rather than offer a historical survey, the exhibition presents a thematic narrative focused on Cuba’s utopian aspirations and failures. With Cuban art increasingly visible in the United States and abroad, Adiós Utopia provides an unprecedented context for understanding the recent surge of interest in the art of Cuba around improved US/Cuba relations. Featuring more than 100 of the most important works of painting, graphic design, photography, video, installation, and performance created by Cuban artists and designers over the past six decades, Adiós Utopia looks at how Cuba’s revolutionary aspirations for social utopia-and subsequent disillusionment-shaped nearly 60 years of Cuban art. The exhibition is organized in partnership with the Museum of Fine Arts, Houston, and the Walker Art Center, Minneapolis. The landmark exhibition of Cuban art is a project conceived by the Cisneros Fontanals Fundación Para Las Artes (CIFO Europa) and The Cisneros Fontanals Arts Foundation, CIFO USA. ![]() HOUSTON- February 2, 2017-On March 5, the Museum of Fine Arts, Houston, debuts Adiós Utopia: Dreams and Deceptions in Cuban Art Since 1950. ![]() The landmark exhibition debuts at the Museum of Fine Arts, Houston, before traveling to the Walker Art Center, Minneapolis in November 2017
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