Carlos Garaicoa Landscapes of Labour
Galeria Luisa Strina from April 3rd to May 25th, 2019
Paisagens de trabalho In a short fictional story, especially written for the Carlos Garaicoa's El Palacio de las Tres Historias (The Three Stories Palace) catalogue, published in 2018, Leonardo Padura imagines a dystopian city where memories are controlled by the state, and the protagonist, Wilmer, working on one of the " Dias de Demolição do Passado Odioso” (Days of Demolition of the Hateful Past) uncovers in the decay of an old library that was destroyed in the historical catastrophe that completly interrupted mankind´s thought, a box containing a story over the pre-apocalypse world different from the one imposed by the government.
Exhibition view of Landscapes of labour, 2019
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Landscapes of Labour
"That´s how a citizen who had hitherto been a role model made a decision that he knew could cost him his life: he would investigate the possibility of the existence of another truth and a more reliable idea whether there was a different past from the one they knew. Perhaps there could be another present, maybe even another future that was not regulated or decided exclusively by Them", writes the narrator of The City of Light. With this attitude of distrust mixed with the risk of "being found out", Garaicoa allows new interpretations to his archive of images (photographic and intellectual) of cities such as Havana, Caracas and Brasilia in the show Paisajes de Trabajo - which works dispute the past, the present and also the future of these places.
Puzzle Carro y Farola, 2019 b/w photographs printed on puzzle, laminated photographs in Dibond, wood and plexiglass edition: 1/3 + 2AP 69.5 x 97.5 x 12.5 cm
Carlos drawings
Garaicoa and
exhibits
installations
sculptures, especially
produced for the solo show in the Luisa Strina Gallery, focusing on modernist architecture and the paradoxes between beauty of the utopian urban landscape and the efforts and manual labor involved in its construction (both historically and daily, in the artist´s creative process itself). 4 "working tables" make up the exhibition where large blueprints designed by Oscar Niemeyer lay; these works are titled Power, Justice, Dance and Death. Around this set, the artist sets drawings of wires interleaved by nails and old rulers, directly on the wall. These also allude to the modernist architecture and the unfinished civilization project ideals, especially in Latin America. The new works of the Puzzles series started in 2018 complete the solo exhibition, in which photographs of the urban landscape of Cuba and Venezuela are enlarged on pieces of puzzles of bluish tones. On the jigsaw puzzle photograph surface where the architecture has decayed, the artist leaves the puzzle disassembled, leaving on the blue tone what remains of the "original" landscape; under the collapse of the small pieces, a black and white image of the same places is visible, installed as a second layer in the background, depicting the urban decay.
Detalhe de Puzzle Hospital, 2019 b/w photographs printed on puzzle, laminated photographs in Dibond, wood and plexiglass edition: 1/3 + 2AP 69.5 x 97.5 x 12.5 cm
The photographs used as base in the series of pieces belong to his personal archive. Known as a " artist who walks", who makes the city his studio, observing, recording and collecting elements that will nurture his works, Garaicoa makes na effort in reflecting on the documentary aspect of the photographic image since his formative years. "A document is the bearer of a message that can be more or less loaded with sensorial, moral, political or ideological terms, but how can this document be truly assimilated?", he askes himself during an interview with Suset Sánchez. Concerned with this issue, the artist was involved in Havana in the 1990s with Cuban press photographers: José Ney, Pedro Abascal, Mario Garcia Joya, Juan Carlos Alom, René Peña i.e.. This proximity to the photographic image and documentary photography led him to be considered for many years a photographer, something he does not agree completely; although employing many mechanisms learned from those photographers, he did so from an external gaze at traditional documentation. "I have never been a photographer inspired by the phenomenon of the image as a decisive moment, because I have always explored the space between the image and the mental reflection, between the image and my own linguistic and existential digressions," he says in the interview published in the catalogue Orden Inconcluso/Unfinished Order [CA2M - Dos de Mayo Arts Center, Madrid, 2015].
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Landscapes of Labour
In the puzzles, this "in between space" (image and thought, image and language) is materialized perhaps in the most forceful way that Garaicoa has already achieved, along with a consolidated 30-year career. Here it happens so that the printed photo on the puzzle seems to float, incomplete, in a gap, "scarce", part of the "information" it should contain is emptied, it is suspended between times: the time condensed by the beholder and the other image´s time, from the one behind (supposedly without gaps, "complete", although covered by the puzzle). That photograph in black and white is the document that carries the message of the decay, of the dilapidated state in which the great Latin American
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Landscapes of Labour
Exhibition view of Landscapes of labour, 2019
metropolis
are.
But
thought-photography what
Garaicoa
does
blue-tinted synthesizes with
the
grammar of art: it is pure language, or metalanguage, because it is exactly the same image - the same file (analog or digital, depending on the moment the picture was taken by the artist) - that was sent to the puzzles factory to be printed on the "mental game of completing images". It offers to the gaze an image of the past, as if above the decay there was the urban landscape as it had been idealized and completed, majestic in its "completeness": a glorious faรงade here; a channeled and wrapped stream through trees and beautiful living buildings there; a centennial building in impeccable state of preservation where a hospital is based, preserved as it used to be in the 18th century there. Garaicoa practices the language of art as he restores those non-existent realities in na intellectual reconstruction where the spectator is taken to as they appreciate these pieces. And this overjoy may have been only interrupted when he came across Calle Revillagigedo, where the bluish image preserves the ruin-document to reveal a glimpse of the black-andwhite sky.
Puzzle Calle Revillagigedo, 2019 b/w photographs printed on puzzle, laminated photographs in Dibond, wood and plexiglass edition: 1/3 + 2AP 97.5 x 69.5 x 12.5 cm
The photograph used as base for this specific puzzle was previously published under the title Av. Infantry nº 111, La Habana (1997), in the book Carlos Garaicoa - Photography as intervention, La Fábrica Editorial (2012). The same is true for three other pieces in the series: Portada ICO was also published as a straight forward photograph, entitled Av. 20 de Mayo y Estévez, La Habana (1997), in the book of Fábrica Editorial; Sótano Sundae is part of the same publication, with the title Calle Omoa, La Habana (2008), and also served as the basis for the photographic gelatine
Av. Infantaria nº111, 1997
print on bone, Calle Omoa, La Habana (2012); and the basic photograph of Puzzle La Lucha was previously used in the work La Lucha (2010), a colored enlarged print with a collage of drawn weapons on manually cut adhesive. The successive revisitations to his archive show how, in Garaicoa's work, the image of a city does not end in the landscape it portrays. It surely works as a trigger for the discourse about social and political reality. Another peculiar feature of the artist's practice in making use of the same photograph in different works is that limits become frayed (already blurred in the context of contemporary art) between copy and original. By not considering himself or acting as a
La Lucha, 2010
traditional photographer, the artist gives himself freedom to reinvent the file according to the project in which he is working on. In this respect, the Puzzles have a close connection with the Porn-Indignant Ceramics (2012) and the tapestry pieces from the series Fim do SilĂŞncio (End of Silence, 2010). In the two groups of works, Garaicoa appropriated, firstly through photography, small details of the urban landscape: in the first case, early 20th Century advertisements painted on the exterior walls of the Juanse Pharmacy in central Madrid; and in the second, names of stores recorded in public tours
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Landscapes of Labour
Porn-Indignant Ceramics, 2012
of the capital of Cuba. The eight large Porn-indignant ceramic diptychs are composed of a photograph of the "original" advertisements and a "copy" printed on ceramic tiles saturated with references of specific moments and incidents in Spanish political history such as corruption, abortion law , sexual liberties, and decriminalization of marijuana.
La Fortuna, 2010 - 2012
Furhter, End of Silence is a piece that combines tapestry and video installation. Taking advantage of the "logos" built on the pavement in old department stores on the streets of Havana, Garaicoa turns digital photographic images into rugs on which the public can walk. Weaving a critique of current Cuba through these pieces made on electronic jacquard looms, the work reveals a dichotomy between the once magnificent floors of the terraces and "decadent" shops (many of which are closed today) and their imminent
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Landscapes of Labour
decay, and he subverts the experience of public-private environments by using messages from the streets in an element common to interior environments - rugs. The video projections show the passers-by stepping on these pavements where they read phrases like "The fortune of men is the misfortune of men," or "Cairo, the cradle of the pharaohs, the temple of lovers, the time of the indignant." Which one is the copy and which one is the original? "The imposing and constant presence of what is in decay is not strange to someone who lived the endemic dimension of the so-called Cuban Special Period (when there was the fall of the global communist system followed by the iconic fall of the Berlin Wall in 1989) and, of course, as he records and modifies these disaster scenarios in a tone that does not refer to romanticism but to the certainty that the desert of nihilism is everywhere. Garaicoa is an artist from the 'project' and, as JosĂŠ Roca adequately pointed out, an artist that projects, which has allowed a peculiar urban drift: it gathers brands, 'street decoys' that enfolds the present disorder and, in a certain sense it confirms, as in Benjamin, that catastrophe is not the last act of tragedy, but the impotence of things that remain the same, "says Spanish critic Fernando Castro FlĂłrez, in an essay for the catalogue of the show Urban (2018), in the Center Cultural Porto Seguro, where the carpets have been exibited most recently.
But the artist´s research is not only based on critics. In the set of three-dimensional drawings Un mundo de infinitas proporciones (A world of infinite proportions, 2019), which is show in the Luisa Strina Gallery, the delicate facet of his investigations on a diaphanous architecture that exists only in the formal world of the artist's mathematical imagination can be seen. The device of architectural construction with nails and wires applied directly on the wall of the exhibition space has already been used by Garaicoa in works like Autoflagelación (Self flagelation), Supervivencia (Survival), Insubordination (Insubordination 2003) and Overlapping (2006). In the never-before seen series designed for his solo in the gallery, the artist included old rulers in the spacial designs, making them more evidently threedimensional. The rulers, old and coming from different regions of the United States, are used in order to add yet another element to the formal operation involving architecture, mathematics and urban planning – which is emblematic of Garaicoa's thinking of the modern city. By using these rulers found in an antiquary in Germany the artist creates dialogues with the practice, often used by him, of the rectified readymade: the found object in the Duchampian thinking, that gains new meaning in context with other elements. The series Paisajes de trabajo (Work landscapes) places
Overlapping (Cranby Street), 2006
violence as the main theme (real and symbolic) of the architecture and the urban spaces that belong to the Brazilian collective memory. Each table top is a painting, which freely reproduces architectural blueprints of Brazilian buildings, plus instruments of torture, inserted in the wood of the tables. Justicia (Justice) was made using Oscar Niemeyer's floor plan for the Justice Palace, BrasĂlia, Distrito Federal; Poder (Power), from the low floor by Oscar Niemeyer for the National Congress, BrasĂlia, Distrito Federal; Danza (Dance), from the floor plan by Oscar Niemeyer to the Dance Hall, Conjunto da Pampulha (Pampulha Complex), in Belo Horizonte, Minas Gerais; and Death (Morte), finally, and from the ground floor of a colonial
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Landscapes of Labour
A world of infinite proportions 5, 2019 wood rules, nails, colored threads, graphite unique 132 x 79 x 3.5 cm
house in Petrópolis, Rio de Janeiro, which was used during the dictatorship as DOPS (Police Station for Political and Social Order), where torture and deaths by the military regimen took place. The tables reinforce the the artist´s political stance who usually argues that works can not be contained by a beautiful form: "This great drama of the avant-garde, to bring art closer to life, is precisely the question of how to fill the forms we have made, how not to be merely na impressionist in the face of reality. Ultimately, it is the search for a language that, without losing its essence as 'art', is capable of articulating itself as a space for social criticism. From the first vanguards, we understand that language is something that must be filled with intentionality. So art could definitely be na excuse to speak as a citizen and at the same time a linguistic reflection, an abstract communication about reality. To weld an image, to give it density, to close it and to reduce it to the interpretation it may have among so many others, is a complex process that requires much study and practice of a discipline. This is where it becomes inevitable to quote Ad Reinhardt's famous statement: 'Art is art. All the rest is all the rest”, summarizes Garaicoa in the interview with Suset Sánchez.
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CARLOS GARAICOA
Landscapes of Labour
Landscapes of Labour Works
Landscapes of Labour: Dance, 2019 painting on pine wood table, objects 245 x 120 cm 15904
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CARLOS GARAICOA
Works
Landscapes of Labour: Justice, 2019 painting on pine wood table, objects 240 x 120 cm 15905
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CARLOS GARAICOA
Works
Landscapes of Labour: Power, 2019 painting on pine wood table, objects 240 x 120 cm 15906
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CARLOS GARAICOA
Works
Landscapes of Labour: Death, 2019 painting on pine wood table, objects 262 x 150 cm 15907
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CARLOS GARAICOA
Works
Puzzle Carro y Farola, 2019 b/w photographs printed on puzzle, laminated photographs in Dibond, wood and plexiglass edition: 1/3 + 2AP 69.5 x 97.5 x 12.5 cm 15908
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CARLOS GARAICOA
Works
Puzzle Hospital, 2019 b/w photographs printed on puzzle, laminated photographs in Dibond, wood and plexiglass edition: 1/3 + 2AP 69.5 x 97.5 x 12.5 cm 15909
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CARLOS GARAICOA
Works
Puzzle La Hoyada, 2019 b/w photographs printed on puzzle, laminated photographs in Dibond, wood and plexiglass edition: 1/3 + 2AP 69.5 x 97.5 x 12.5 cm 15910
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Works
Puzzle Parque Central, 2019 b/w photographs printed on puzzle, laminated photographs in Dibond, wood and plexiglass edition: 1/3 + 2AP 69.5 x 97.5 x 12.5 cm 15911
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CARLOS GARAICOA
Works
Puzzle Portada ICO, 2019 b/w photographs printed on puzzle, laminated photographs in Dibond, wood and plexiglass edition: 1/3 + 2AP 69.5 x 97.5 x 12.5 cm 15912
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CARLOS GARAICOA
Works
Puzzle Sรณtano Hundido, 2019 b/w photographs printed on puzzle, laminated photographs in Dibond, wood and plexiglass edition: 1/3 + 2AP 69.5 x 97.5 x 12.5 cm 15913
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CARLOS GARAICOA
Works
Puzzle La Lucha, 2019 b/w photographs printed on puzzle, laminated photographs in Dibond, wood and plexiglass edition: 1/3 + 2AP 97.5 x 69.5 x 12.5 cm 15914
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CARLOS GARAICOA
Works
Puzzle La Malenka, 2019 b/w photographs printed on puzzle, laminated photographs in Dibond, wood and plexiglass edition: 1/3 + 2AP 97.5 x 69.5 x 12.5 cm 15915
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CARLOS GARAICOA
Works
Puzzle Calle Revillagigedo, 2019 b/w photographs printed on puzzle, laminated photographs in Dibond, wood and plexiglass edition: 1/3 + 2AP 97.5 x 69.5 x 12.5 cm 15916
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CARLOS GARAICOA
Works
Resistencia, 2019 nail of iron, steel, bronze, and gold edition: 1/50 19 x 3 x 32 cm 15971
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CARLOS GARAICOA
Works
A world of infinite proportions 1, 2019 wood rules, nails, colored threads, graphite unique 90 x 125 x 3.5 cm 15989
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CARLOS GARAICOA
Works
A world of infinite proportions 2, 2019 wood rules, nails, colored threads, graphite unique 104 x 96 x 3.5 cm 15992
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CARLOS GARAICOA
Works
A world of infinite proportions 3, 2019 wood rules, nails, colored threads, graphite unique 111 x 85 x 3.5 cm 15991
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CARLOS GARAICOA
Works
A world of infinite proportions 4, 2019 wood rules, nails, colored threads, graphite unique 117 x 76 x 3.5 cm 15990
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CARLOS GARAICOA
Works
A world of infinite proportions 5, 2019 wood rules, nails, colored threads, graphite unique 132 x 79 x 3.5 cm 15988
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Works
A world of infinite proportions 6, 2019 wood rules, nails, colored threads, graphite unique 77 x 100 x 3.5 cm 15993
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CARLOS GARAICOA
Works
A world of infinite proportions 7, 2019 wood rules, nails, colored threads, graphite unique 148 x 87 x 3.5 cm 15984
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CARLOS GARAICOA
Works
A world of infinite proportions 8, 2019 wood rules, nails, colored threads, graphite unique 144 x 100 x 3.5 cm 15998
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CARLOS GARAICOA
Works
A world of infinite proportions 9, 2019 wood rules, nails, colored threads, graphite unique 119 x 105 x 3.5 cm 15996
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CARLOS GARAICOA
Works
A world of infinite proportions 10, 2019 wood rules, nails, colored threads, graphite unique 130 x 154 x 3.5 cm 15917
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CARLOS GARAICOA
Works
A world of infinite proportions 11, 2019 wood rules, nails, colored threads, graphite unique 128 x 103 x 3.5 cm 15983
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CARLOS GARAICOA
Works
A world of infinite proportions 12, 2019 wood rules, nails, colored threads, graphite unique 85 x 97 x 3.5 cm 15985
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CARLOS GARAICOA
Works
Um mundo de infinitas proporciones 13, 2019 wood rules, nails, colored threads, graphite unique 142 x 92 x 3.5 cm 15995
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CARLOS GARAICOA
Works
Um mundo de infinitas proporciones 14, 2019 wood rules, nails, colored threads, graphite unique 164,2 x 99 x 3.5 cm 15997
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Works
A world of infinite proportions 15, 2019 wood rules, nails, colored threads, graphite unique 93x 164 x 3.5 cm 15987
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CARLOS GARAICOA
Works
A world of infinite proportions 16, 2019 wood rules, nails, colored threads, graphite unique 101 x 154 x 3.5 cm 15976
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CARLOS GARAICOA
Works
A world of infinite proportions 17, 2019 wood rules, nails, colored threads, graphite unique 106,5 x 225 x 3.5 cm 15986
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CARLOS GARAICOA
Works
A world of infinite proportions 18, 2019 wood rules, nails, colored threads, graphite unique 220 x 106 x 3.5 cm 15994
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CARLOS GARAICOA
Works
Carlos Garaicoa Born in 1967, in Havana, Cuba. Lives and works in Havana and Madrid, Spain.
Nascido em 1967, em Havana, Cuba. Vive e trabalha em Havana e Madri, Espanha.
‘I take a multidisciplinary approach to issues of culture and politics, particularly Cuban, through the study of architecture, urbanism, and history. My main subject and inspiration have always been the architecture of the city of Havana and the Cuban way of life, but there are also parallels with many other cities that I visit, which also inspire me. My work includes installation, video, photography, sculpture, drawings, and even popup books.’
‘Eu utilizo uma abordagem multidisciplinar para as questões de cultura e política, particularmente cubana, através do estudo de arquitetura, urbanismo e história. Meu tema principal e inspiração sempre foi a arquitetura da cidade de Havana e a forma cubana de vida, mas também há muitos paralelos com cidades que visito, que também me inspiram. Meu trabalho inclui instalação, vídeo, fotografia, escultura, desenhos e até mesmo livros pop-up.’
Garaicoa with the work Landscapes of Labour: Dance Garaicoa com a obra Paisajes de Trabajo: Danza
Prizes
Prêmios
2012
Premio Tequila Centenario. Feria de Arte Contemporaneo Zona Maco. México D.F, Mexico.
2008
2005
XXXIX Premio Internacional de Arte contermporáneo «Prince Pierre de Mónaco», Montecarlo, Mônaco. Katherine S. Marmor Award, M.O.C.A, Los Angeles, EUA.
Premio de adquisición de video arte por la obra Yo no quiero ver más a mis vecinos, Video LOOP, Barcelona, Espanha.
Solo Shows
Exposições Individuais
2018
de Arte, Arquitetura e Tecnologia, Lisboa, Portugal.
Nada veo, nada digo, nada oigo, UNAICC (Unión Nacional de
Prêt-a-porter, Centro Párraga, Murcia, Espanha.
Arquitectos, Ingenieros de la Construcción de Cuba), Havana,
Epifanías urbanas, Askuna Zentroa, Bilbao, Espanha.
Cuba. Birlibirloque, Galería Elba Benítez, Madri, Espanha. Anatomías y Anatemas, Francesco Pantaleone Arte
2016 Orden Inconcluso, Museum Villa Stuck, Munique, Alemanha.
Contemporanea, Palermo, Itália. Parasol Unit, Londres, Inglaterra. El Palacio de las tres historias, CGAC Centro Galego de Arte Contemporánea, Santiago de Compostela, Espanha. Ser Urbano, Espaço Cultural Porto Seguro, São Paulo, Brasil.
Historias, como líneas, dibujadas sobre mí, Antiguo Arsenal de la Marina Española, San Juan, Porto Rico. The Politics and Poetics of Space, The Museum of Contemporary Art, Oslo, Noruega.
2017 El Palacio de las tres historias, Fondazione Merz, Turim, Itália. Bestiario, Galleria Continua, Pequim, China. Art Unlimited, Basel Art Fair, Basiléia, Suíça. Yo nunca he sido surrealista hasta el día de hoy, MAAT Museu
57
2015
CARLOS GARAICOA
Curriculum Vitae
2012 Galeria Luisa Strina, São Paulo, Brasil. Le Optimist, Galleria Continua Le Moulin Boissy-le-Châtel (Seine-et-Marne), França.
A City view from the table of my house. Kunsthaus Baselland Muttenz / Basel, Suiça.
2007 Capablanca’s Real Passion, Institute of Contemporary Art (ICA),
Carlos Garaicoa: Photography as intervention. official selection
University of Pennsylvania, Philadelphia, EUA.
photoespaña 12 (phe 12) from here. context and. internationalization,
Latin Kings Music Vol. I-V, Galería Elba Benítez, Madrid.
Museo Colecciones ICO (MUICO)Madrid, Espanha. Without Solution, Galleria Continua, San Gimignano, Italia. A City of view from the table of my house. Kunstverein Braunschweig, Alemanha.
2006 Capablanca’s Real Passion, Royal Ontario Museum, Toronto, Canada. The Drawing, the Writing and the Abstraction (with Ezequiel Suárez), Lombard-Freid Projects, New York, EUA.
2011
Yo no quiero ver más a mis vecinos, Castello di Ama, Gaiole in Chianti,
Carlos Garaicoa: Making Amends, H.F. Johnson Museum of Art.
Itália.
Cornell University, Ithaca, New York, USA.
Der Gast (videos 1996-2006), FriArt Kunsthalle Fribourg, Suíça.
End of silence, Centre d’Art la Panera, Lleida, Espanha.
Overlapping, IV Liverpool Biennial, Open Eye Gallery, Liverpool,
Noticias recientes, Centro de Arte Caja de Burgos (CAB), Burgos,
Inglaterra.
Espanha.
Postcapital, Palau de la Virreina, Barcelona, Espanha.
The Dark Room, Instituto Cervantes, Beijing, China. Party! Not tea party, Elba Benítez Gallery. Madrid, Espanha. Photo-Topographies, National Museum of Contemporary (EMST). Athens, Grecia.
2005 Capablanca’s Real Passion, Museum of Contemporary Art (M.O.C.A) at Pacific Design Center, Los Angeles, EUA. Things that Happen When Life Goes Very Wrong, Galleria Continua,
2010
San Gimignano, Itália.
See Reason (with Patrizio Di Massimo), Stedelijk Museum Bureau
Because Every City Has the Right to be Called Utopia, Oriel Mostyn
Amsterdam (SMBA), Holanda.
Gallery, Walles.
Lands in Abeyance, Museo de Arte Moderno de Medellín(MAMM),
Carlos Garaicoa, Yorkshire Sculpture Park, West Yorkshire, Inglaterra.
Sede Ciudad del Río, Medellín, Colombia.
Carta a los censores, XXXIX Internacional Contemporary Art Prize,
Overlapping, Irish Museum of Modern Art (IMMA) Dublin, Irlanda.
Quai Antoine I, Montecarlo, Mónaco.
Project Fragile, MARZ Gallery, Lisboa, Portugal.
Vamos fazer barullo agora, porra! (with Ezequiel Suárez), Galería
Carlos Garaicoa: Making Amends, Contemporary Art Museum,
Habana, Havana, Cuba.
Institute for Research in Art, Tampa, EUA.
El mapa del viajero, Galeria Luisa Strina, Sao Paulo, Brasil.
The Old and the New, Barbara Gross Gallery, Munich, Alemanha.
Self-flagellation, Survival, Insubordination, Aspen Art Museum,
End of silence, Abierto x Obras, Matadero de Madrid, Espanha.
Colorado, EUA.
2009
2004
The Point, the Line and the Plan, East Central Galleries. Londres,
La misura de quasi tutte le cose, Palazzo delle Papesse, Siena, Itália.
Inglaterra. La mala semilla, Château de Blandy-les-Tours, França. Triunfo, Duda y Celebración, (with Ilya & Emilia Kabakov) Galleria Continua, San Gimignano, Itália. How to become a millionaire through the Junk Mail, Galeria Luisa Strina, São Paulo, Brasil. Yo no quiero ver más a mis vecinos, Video exhibition, Salle Zero, Alianza Françasa, Havana, Cuba. La enmienda que hay en mí, Museo Nacional de Bellas Artes, Havana, Cuba. The Observatory, Bridge Arts, Castleford, Inglaterra.
Carlos Garaicoa, Galería Elba Benítez, Madrid, Espanha. Lecciones de Historia, Casa de América, Madrid, Espanha. Nuevas Arquitecturas, Centro Wifredo Lam, Havana, Cuba. Autoflagelación, Supervivencia, Insubordinación, Sala Montcada, Fundació La Caixa, Barcelona, Espanha. Carta a los censores, Piccollo Teatro dell´anarchia, Volume!, Rome, Itália. La habitación de mi negatividad, VII Havana Biennial, Galería La Casona, Havana, Cuba. Letter to the Censors, Artist Statements, Art Basel Miami Beach,
2008
Lombard Freid Projects, Miami, EUA.
Carlos Garaicoa, Caixa Cultural, Río de Janeiro; CCBB, Brasilia, (2009); Palacio das Artes, Belo Horizonte, Brasil (2009). Revolution or Rizhome?, Galleria Continua, Beijing, China.
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2003
CARLOS GARAICOA
Curriculum Vitae
El asesino de la baraja, Espacio C, Camargo, Espanha.
2002
1998
Now let’s play to disappear, Galleria Continua, San Gimignano,
Principio y fin de las fascinación, Centro Wifredo Lam, Havana,
Itália.
Cuba.
Ni Christ, ni Marx, ni Bakounine, Maison Européene de la Photographie, Paris, França.
1996 El voluble rostro de la realidad, Fundación Ludwig de Cuba,
2001
Centro de Desarrollo de las Artes Visuales, Havana, Cuba.
Carlos Garaicoa, Art & Public Cabinet PH, Geneva, Suíça.
Cuando el deseo se parece a nada, Art in General, Nova Iorque,
The last 10 Days of the Market, Aarhus Festival, Gallery Image,
EUA.
Dinamarca.
Habana: A survey, Carla Stellweg Gallery, Nova Iorque, EUA.
Because Every City Has the Right to be Called Utopia, Lombard-
El paisaje, los límites, Fototeca de Cuba, Havana, Cuba.
Freid Projects, New York, EUA.
1995
2000
El espacio decapitado, Centre PasquArt, Biel-Bienne, Suíça.
Nouvelles Architectures, Farideh Cadot Gallery, Paris, França. Recuadros (with Federico Herrero), Jacobo Karpio Gallery, San José, Costa Rica. Carlos Garaicoa: La ruina; La utopía (obras 1990-2000), Biblioteca Luis Ángel Arango, Banco de La República, Bogotá;
Inside Havana, Espacio Aglutinador de Arte, Havana, Cuba.
1994 El sueño de la razón (with Pedro Abascal), Centro Wifredo Lam, Havana, Cuba.
Bronx Museum of the Arts, New York, EUA; Museo Alejandro
1992
Otero, Caracas, Venezuela.
Tu número de suerte, Galería Juan Francisco Elso, Asociación
1999
Hermanos Saíz, Havana, Cuba.
Mi primer y último homenaje a la arquitectura (y al Marqués de
1989
Sade), Galería Habana, Havana, Cuba. Paisaje, Ars TeorÉTICA, San José, Costa Rica. Survia, Primer Salón de Fotografía, Centro de Desarrollo de las Artes Visuales, Havana, Cuba.
Group Shows
Días de infancia, Galería del Centro de Investigaciones del Ministerio de Educación, Havana, Cuba.
Exposições Coletivas
2019
Vallarta, México.
Hay cosas encerradas dentro de los muros que, si salieran
Diálogos: 2 X 1, ARCOmadrid, Madri, Espanha.
de pronto a la calle y gritaran, llenarían el mundo. – seleção
ANIMA – Open Studio 13.0, Estudio Carlos Garaicoa, Madri,
de trabalhos da coleção Fundación ARCO / Ifema, Madrid
Espanha.
Autonomous Region, Portugal.
2018
2017 Please come back, IVAM Institut Valencià d’Art Modern,
Chi utopia mangia le mele, ArtVerona, Verona, Itália.
Valência, Espanha.
50 Aniversario del Museo de Villa Stuck: Grande Soriées,
Las Ciudades Invisibles, Galleria Continua, Havana, Cuba.
Museum Villa Stuck, Munique, Alemanha.
El fin del Gran Relato, Galería Taller Gorría, Havana, Cuba.
The Pulse of the Body. Uses and Representations of Space. Per
Turbulencias, Galeria de Torreão Nascente da Cordoaria
Amor A L’Art Collection, Bombas Gens Centre d’Art, Valência,
Nacional, Lisboa, Portugal.
Espanha.
Condemned to be Modern, LAMAG Los Angeles Municipal Art
El fin del Gran Relato, Oficina de Proyectos Culturales, Puerto
Gallery, Los Angeles, EUA.
El borde de una herida, CDAN Huesca, Huesca, Espanha.
New Territories: Laboratories for Design, Museum of Art and Design,
Cuban Art Now, Singer Laren, Laren, Holanda.
New York, EUA.
As if sand were stone, Art Gallery of Ontario, Ontario, Canadá. Coleção EMST (Grécia) na dOCUMENTA 14, Fridericianum, Kassel, Alemanha.
2013 Jornadas contra Franco, C/ Encarnación González no 8, Vallecas,
Arte en el Cambio de Siglo, Centro Botín, Santander, Espanha.
Madri, Espanha.
Adiós Utopia: Sueños y Decepciones en al Arte Cubano desde 1950,
Utopia starst small, 12 Triennale Kleinplastik Fellbach. Fellbach,
Museum Fine Arts, Houston, EUA.
Alemanha.
Ruido Salvaje, The Bronx Museum of the Arts, Nova York, EUA.
Extreme carperts, From Timbuctù to Contemporary Art. Fondazione
South-South Let me Begin Again, Goodman Gallery, Cidade do Cabo,
107, Turim, Itália.
África do Sul.
La Palabra Transformada, Open Studio 8.0. Carlos Garaicoa Studio,
Dimensões variáveis: Artistas e Arquitetura, MAAT Museu de
Madrid, Espanha.
Arquitetura e Tecnologia, Lisboa, Portugal. Please come back. The World as a Prison?, MAXXI Museo Nazionale Delle Arti del XXI Secolo, Roma, Itália. The End of the World, Centro per L’Arte Contemporanea Luigi Pecci, Prato, Itália.
2016 — 2017
2012 Inhotim Instituto de Arte Contemporaneo, Inhotim, Brumadinho, MG, Brazil. Industrial Park, Galeria Luisa Strina, São Paulo, Brazil. Facing walls, opening windows. Galleria Continua, Beijing, China. The Stumbling Present: Ruins in Contemporary Art, Art, Design &
Colección MACBA 31, Museu d´Art Contemporani de Barcelona,
Architecture Museum UC Santa Barbara, CA. USA.
Espanha.
Revolution not televised, The Bronx Museum of the Arts, Bronx, NY,
2016
USA. Roots, Memory, Identity and Change in Today´s Art, Palazzo De
Cuba: Tatuare La Storia, Padiglione d’Arte Contemporanea (PAC),
Sanctis, Castelbasso.
Milão, Itália.
Fondazione Malvina Menegaz, Palazzo Clemente, Castelbasso (TE),
El Tormento y el Éxtasis, Es Baluard, Palma, Espanha.
Italy.
Labor Relations, Wrocław Contemporary Museum, Wrocław, Polônia.
Caribbean: Crossroads of the world, El Museo del Barrio, Queens
Quand fondra la neige ou ira le blanc?, Palazzo Fortuny, Veneza, Itália.
Museum of Art y The Studio Museum in Harlem, New York, USA.
Nuevos territorios: laboratorios de diseño, artesanía y arte en
Inhotim Instituto de Arte Contemporaneo, Inhotim, Brumadinho,
Latinoamérica, Museo Amparo, Puebla, México.
MG, Brasil.
CUBA LIBRE, Cuba contemporánea desde la visión de Peter Ludwig,
Echigo-Tsumari Art Triennale, EchigoTsumari Satoyama Museum of
Museum Ludwig, Koblenz, Alemanha.
Contemporary Art, Kinare, Japan.
Transhumance, beyond human horizon, Centre d’Art de Bruxelles
All Our Relations, 18th Biennale of Sydney, Cockatoo Island, Australia.
(CAB), Bruxelas, Bélgica.
End of Silence, 11th Havana Biennale: Artistic Practices and Social
2015
Imaginaries, Centro de Arte Contemporáneo Wifredo Lam, Havana, Cuba.
Artista X Artista, Havana, Cuba.
New Artworks in the Collection, Centre Pompidou, Paris, France.
Crónica(o), Fundación Casa Cortés, San Juan, Porto Rico.
The longest trip beggings with a simple line (Curatorial Proyect),
4a Trienal Poli/Gráfica, Instituto de Cultura Puertorriqueña, San Juan,
Galleria Continua, San Gimignano, Italy.
Porto Rico.
Open Studio 6.0. Construct, Deconstruct and Destroy. Carlos Garaicoa
Another Part of the New World, Moscow Museum of Modern Art,
Studio, Madrid, Spain.
Moscou, Russia.
Fifty Year of Latin American Art, Selection from The Neuberger
Quarta-feira de Cinzas, EAV Parque Lage, Rio de Janeiro, Brasil.
Museum of Arts. Avenue of the Americas Art Gallery, New York, USA.
Crack, Galería Habana, Havana, Cuba.
Walk the line, Galería Max Estrella, Madrid, Spain.
XII Bienal de La Habana, Havana, Cuba.
Lugares en pérdida, Centro de Arte Contemporáneo Huarte/Uharte,
O Museu a Haver, Fórum Eugénio de Almeida, Évora, Portugal.
Spain.
Ejercicios de Traslado: Colecciones 9915, Centro de Arte Alcobendas,
Invisible cities, MASS MoCA, North Adams, MA, USA.
Madri, Espanha. Beleza?, curadoria de Pamela Prado, CCSP Centro Cultural São Paulo,
2011
Brasil.
Beijing on line inlive 10 hans 100 fingers. Galleria Continua, Beijing,
2014
China. The Future Last Forever, Gävle Konstcentrum.Gävle, Sweden.
Orden Inconcluso, CA2M Centro de Arte Dos de Mayo, Madri,
XI Biennale of Cuenca-Ecuador, Museo de Arte Moderno. Cuenca,
Espanha.
Ecuador.
Orden Aparente, curadoria de Vicente Todoli. Fundación Botín,
Coup d’éclat, Fort du Bruissin, Centre d’art contemporain, Francheville,
Santander, Espanha.
França.
Dublin Contemporary 2011: Terrible Beauty – Art, Crisis,
Ideal Project, Museum of Contemporary Art, Santiago de Chile,
Change & The Office of Non-Compliance, Dublin, Irlanda.
Chile.
Regress Progress, Centre for Contemporary Art, Varsóvia, Polonia.
Like tears in rain, Palácio das Artes, Fundação da Juventude,
Um Outro Lugar, MAM, São Paulo, Brasil.
Porto, Portugal.
Penelope’s Labour, Fondazione Giorgio Cini, Ilha de San Giorgio
Memoria Technica. Examining the Tension between Aesthetics
Maggiore, Veneza.
and the Representation of the Self, East Central Galleries,
Ya se leer. Imagen y texto en el Arte Latinoamericano. Centro de
Londres, Inglaterra.
Arte Contemporáneo Wifredo Lam/Galería de la Biblioteca Rubén
Margins of Silence, Centro de Artes Visuales Fundación Helga de
Martínez Villena. Havana, Cuba.
Alvear, Cáceres, Espanha.
Midnight in the City. ARTIUM Centro-Museo Vasco de Arte
Spazio. From the Body to the City, MAXXI National Museum of
Contemporáneo, Espanha.
XXI Century Arts, Rome, Itália.
The draughtman´s contract. Open Studio 5.0. Estudio Carlos
Eröffnung in neuen räumen, Barbara Gross Galerie, München,
Garaicoa, Madrid, Espanha.
Alemanha.
Projeto Ideal, Centro Cultural São Paulo, São Paulo, Brasil.
Sobrestructuras, OTR. Espacio de arte, Madrid, Espanha.
Architecture and Power, Tate Modern, Londres, Reino Unido.
Modelos para armar. Pensar Latinoamérica desde la Colección
Risk Zones, Museum of World Culture, Gotemburgo, Suiça.
MEUAC, Museo de Arte Contemporáneo de Castilla y León,
Architecture and power, Tate Modern, Londres, Inglaterra.
Castilla y León, Espanha.
A Sense of Perspective, Tate Liverpool, Liverpool, Inglaterra.
Ut(r)ópicos: Central America and The Caribbean, 31st
En Obras, com curadoria de Adriano Pedrosa, Tenerife Espaço de
Pontevedra Biennial, Museo de Pontevedra, Pontevedra, Espanha.
las Artes, Ilhas Canárias, Espanha.
Isole mai trovate/Islands Never Found, Palazzo Ducale,
Art Basel Miami Beach, Stand K14, Galeria Luisa Strina, Miami,
Appartamento del Doge, The State Museum of Contemporary
EUA.
Art, Génova, Itália; Tessaloniki, (2010.); Saint Etienne, Museum of Modern Art (2011).
2010
Sinergias. Arte latinoamericano actual en España, Museo
Sinergias: Latin American Art in Espanha Today, Contemporary
Extremeño e Iberoamericano de Arte Contemporáneo, MEIAC,
Art Museum Gas Natural Fenosa (MACUF), A Coruña, Espanha.
Badajoz, España; Museo de Arte Contemporáneo Gas Natural –
The Earth is Blue Like an Orange, Montreal Museum of Fine
Unión Fenosa, La Coruña, España (2010-2011).
Arts, Quebec, Canada.
Ver para Creer, Bienal de Arte Paiz, Guatemala.
Midnight in The City, Centre d’Art la Panera, Madrid, Espanha.
It is it, Espacio 1414, Santurce, Puerto Rico.
Rehearsal, 8th Shanghai Biennale, Shanghai Art Museum,
Changing the focus: the Art of Latin American Photography
Shanghai, China.
(1990-2005), Museum of Latin American Art (MOLAA), Long
And Writers, First Nanjing Contemporary Art Biennal, Jiangsu
Beach, California, EUA.
Provincial Art Museum, Nanjing, China.
I Shot the sheriff (Héroes y Villanos), Carlos Garaicoa Open
Haunted, Solomon R. Guggenheim Museum, Bilbao, Portugal.
Studio 4.0, Madrid, Espanha.
Puntos de fuga, Museo de Arte Moderno de Medellín(MAMM),
Ruptures and Continuities: Photography Made after 1960 from
Sede Ciudad del Río, Medellín, Colombia.
the MFAH Collection, FotoFest 2010. Museum of Fine Arts,
Viaggi in Italia, Palazzo Fabroni Arti Visive Contemporanee,
Houston, EUA.
Pistoia Itália.
Contemplating the Void: Interventions at Guggenheim
Let´s talk about Houses: When Art Speaks Architecture
Museum, Guggenheim Museum, New York, EUA.
[Constructing, Deconstructing, Dwelling] , Lisboa.
Atopía, Centre de Cultura Contemporània de Barcelona (CCCB),
Transparency: Art for Energy, Museum of Contemporary Art
Barcelona, Espanha.
Donna Regina (MADRE), Naples, Itália.
Malas Calles, Institut Valencià d’Art Modern (IVAM), Valencia,
Transparency: Art for Energy, Museum of Contemporary Art of
Espanha.
Rome, Itália.
Pieza única, Delegación del Principado de Asturias en Madrid,
Facing the Sun, Martin Janda Gallery, Vienna, Austria.
Madrid, Espanha.
First and Last, Notes on the Monument, Galeria Luisa Strina,
Guerra y arte ¡Grande hazaña! Con muertos, Sala Puertanueva,
São Paulo, Brasil.
Córdoba, Espanha.
Stressisimo, Galería Habana, Havana, Cuba. There is Always a Cup of Sea to Sail in, 29a Bienal de São Paulo, São Paulo, Brasil.
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CARLOS GARAICOA
Curriculum Vitae
2009
Cuestion Xeracional, Centre Galego de Arte Contemporànea, Santiago
Art Kabinet, Art Basel Miami Beach, Galleria Continua, EUA.
de Compostela, Espanha.
Sphères 2009, Galleria Continua, Le Moulin, Paris, França.
Turbulence, 3rd Auckland Triennial, Nova Zelandia.
El patio de mi casa /The Sky Within my House, Universidad de
Commitment, Mechelen, Belgica.
Filosofía y Letras, Cordoba, Espanha.
Luz ao Sul, Encuentro entre dos Mares, IV Sao Paulo Biennal-
Panorama de arte Brasileira, Museo de Arte Moderno, Sao Paulo,
Valencia, Espanha.
Brasil.
Not afraid of the Dark, Emergenze Hangar Biccoca, Milan, Itália.
Confluencias Inside, National Hispanic Cultural Center Art Museum
Killing Time: An exhibition of Cuban artists from the 1980s to the
(NHCC), Alburquerque, EUA.
present, Exit Art, New York, EUA.
Irreversible (Doble cara de la colección Sánchez Ubiría), Pazo da
Utopian Mirage, The Franças Lehman Loeb Art Center, New York,
Cultura de Pontevedra, Espanha.
EUA.
ARTTLV_09, Tel Aviv-Yafo, Israel.
Art Unlimited, Art 38 Basel, Suíça.
Mundus Novus, Arte Contemporáneo Latinoamericano, 53 Venice
LOOP 07, Barcelona, Espanha.
Biennial, ILLA Pavillion.
A Number of Worlds Resembling Our Own, SMART Project Space,
Artigliere dell’Arsenale, Itália.
Amsterdam, The Netherlands.
Fragile. Terres d’empathie, Musée Art Moderne Saint-Etienne
Homing Devices, Contemporary Art Museum, University of South
Metropole, França.
Florida, Tampa, EUA.
Cartografías Disidentes, Biblioteca Nacional José Martí, Havana,
IKF. Latin American Art Auction. Cisneros Fontanals Art Foundation,
Cuba; Oi Futuro, Rio de Janeiro, Brasil; Museo de Arte Contemporáneo,
Miami, Florida, EUA.
Caracas, Venezuela; Centro de Formación de la Cooperación Española,
Il futuro del futurismo Dalla ‘rivoluzione italiana’ all’arte
Cartagena de Indias, Colombia, Centro Cultural de Sao Paulo (2008)
contemporanea. Da Boccioni a Fontana a Damien Hirst, Galleria
Brasil; SEACEX, Madrid, Espanha (2008); Centro Cultural de São Paulo,
d’Arte Moderna e Contemporanea di Bergamo, Itália.
Brasil (2008).
New Perspectives in Latin American Art, 1930-2006: Selections from
Videos Abierto, Murcia, Espanha.
a Decade of Acquisitions, M.O.M.A, New York, EUA. L’emprise du Lieu, Domaine Pommery, Reims, França.
2008 The Prisoner’s Dilemma: Selections from the Ella Fontanals-
2006
Cisneros Collection, Fundación de Arte Cisneros Fontanal (CIFO),
Metropolitanscapes, Palazzo Cavour, Turin, Itália.
EUA.
Estrecho Dudoso, San José, Costa Rica.
Farewell to Post-Colonialism, 3rd Guangzhou Triennial, Guangdong
De repente livros, A Gentil Carioca, Rio de Janeiro, Brasil.
Museum of Art, China.
Habana Factory, A Chocolatería, Santiago de Compostela, Espanha.
Lança Cuba, Gentil Carioca (curator and artist), Rio de Janeiro, Brasil.
Arte de Cuba, Rio de Janeiro, Sao Paulo and Curitiba, Brasil.
Articulações, Faro, Algarve, Portugal.
C4, Centro de Cultura Contemporanea, Caldogno, Vicenza, Itália.
Construir, habitar, pensar, Perspectivas del arte y la arquitectura
Echigo-Tsumari Art Triennale, Nigata, Japão.
contemporánea, IVAM, Valencia, Espanha.
Less. Strategie alternative dell’abitare, PAC, Milano, Itália.
Blown Away, Exhibition Fact Sheet, Krannert Art Museum and
Other than Art, G Fine Art, Washington D.C, EUA.
Kinkead Pavilion, University of Illinois at Urbana-Champaign, Illinois,
Nuit Blanche, Paris, França.
EUA.
Ideal City-Invisible Cities, Zamonsc, Polonia.
¡Cuba! Art and History from 1868 to Today, Montreal Museum of Fine
Off the Shelf: New Forms in Contemporary Artist’s Books, The
Arts, Montreal, Canada.
Franças Lehman Loeb Art Center, Vassar College, Poughkeepsie, New
Unbroken Ties: Dialogues in Cuban Art, The Museum of Art Fort
York, EUA.
Lauderdale, EUA.
Museo Tomado, Museo Nacional de Bellas Artes, Havana, Cuba.
Surrounded by Water: Expressions of Freedom and Isolation in
Waiting List, Mestna Galerija, Ljubljana, Eslovenia.
Contemporary Cuban Art, Boston University Art Gallery, EUA. The Sneeze 80 artists x 80 seconds 106 minutes (first exhibition in 2004), Durban Art Gallery, South Africa.
2005 New Photography, Museum of Modern Art (M.O.M.A), New York,
Fate Presto, Chiesa dell’Addolorata, Naples, Itália.
EUA. Inverting the Map: Latin American Art from the Tate Collection,
2007
TATE Liverpool, UK.
The Shapes of Space, Guggenheim Museum, New York, EUA.
M City, Kunsthaus Graz, Vienna, Austria.
Ouverture, Galleria Continua Le Moulin, Paris, França.
III Tirana Biennial, Tirana, Albania.
One Colour, Galleria Continua, Beijing, China.
Farsite, Insite, Tijuana-San Diego, Mexico-EUA.
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CARLOS GARAICOA
Curriculum Vitae
51st Venice Biennale, Arsenale, Venice, Itália.
Madrid, Espanha.
Art Unlimited, Art Basel 36, Basel, Suíça.
Waterfront project, Helsingør/ Helsingborg, Dinamarca/Suécia.
Dialectics of Hope, I Moscow Biennale, Moscow, Russia.
Fotolatina, Museo Arte Contemporáneo, Guadalajara, Mexico.
7th Sharjah International Bienal, Sharjah, United Arabian
Window onto Venus, VII Havana Biennal, Havana, Cuba.
Emirates.
Cream 2, 10 curators, 100 artists. Exhibition Catalog, Phaidon
2004 Transmigraciones, Trienal Poli/Gráfica de San Juan, Puerto Rico. Future Cities, Art Gallery of Hamilton, Canada.
Press, Londres, UK. Espacios híbridos (with Tania Bruguera, Luis Gómez), Galería La Casona, ARCO ’00, Madrid, Espanha.
We come in peace… Histories of the Americas, Musée d’Art
1999
Contemporain of Montréal, Canada.
Los mapas del deseo, Kunsthalle Vienna, Kunstraum Innsbruk,
Artitecture, Rena Bransten Gallery, San Francisco, EUA.
Austria, Nicolaj Contemporary Art Center, Copenhagen,
Image Smugglers, XXVI Sao Paulo Biennal, Parque Ibirapuera,
Dinamarca.
Sao Paulo, Brasil.
Venus’s Window, Civic Centre La Grancia, Zerynthia,
Sculpture, Gallerie Anne de Villepoix, Paris, França.
Associacione per l’arte Contemporanea Tuscany, Itália.
A Taste of the Pain of Others, L.A Freewaves, California, EUA.
Mirror Edge, BildMuseet, Umea, Suécia.
2003
I Bienal Internacional de México, Centro de la Imagen, D.F., Mexico.
Time capsule, Art in General, New York, EUA.
Cuatro artistas cubanos, Geunkens en De Vill Gallery, Knokke,
Dream Space / Entre sueños, Deutsche Bank Lobby Gallery, New
Belgica.
York, EUA.
Diáspora. Encuentro Internacional de Arte Ciudad, Oviedo,
Salon des Refusés, Fondazione Bevilacqua La Masa, Venice, Itália.
Asturias, Espanha.
Modern Islands, Public Project, Dresden, Alemanha. Cuba on the Verge. An island in transition, International Center
1998
of Photography, New York, EUA.
La ciudad vista desde la mesa de casa, Centro Wifredo Lam,
Dentro/Fuera: Arte Cubano contemporáneo, Charlotte and
Havana, Cuba.
Philip Hanes Art Gallery, Wake Forest University, EUA.
Fragmentos a su imán, Casa de las Américas, Havana, Cuba.
2002
Isla Oscura: New Photography from Cuba, Southeast Museum of Photography, Daytona Beach, Florida, EUA.
Somebody’s architecture, Documenta 11, Platform 5, Kassel,
Comme peut on être cubain?, Maison de L’Amerique, Paris,
Alemanha.
França.
Copyright, Centro Cultural de España, Havana, Cuba.
De discretas autorías, Museo de Arte Contemporáneo de Maracay
Artists Imagine Architecture, Institute of Contemporary Art
Mario Abreu, Maracay, Venezuela.
(ICA), Boston, EUA.
Cuba-ON, Generous Miracles Gallery, New York, EUA.
De ponta cabeça, I Fortaleza Biennal, Brasil.
La mirada y el laberinto, Cosello da Cultura Galega, Galicia,
Reality’s Desire, The Generation of Images, Milan, Itália.
Espanha.
Sincretismi, Fondazione Adriano Olivetti, Rome, Itália.
Memoria íntimas, marcas, Electricworkshop, Johannesbourg,
On/Off (with Michelangelo Pistoletto), Vista Mare Associazione
África do Sul; Window-Museum Pretoria, South Africa; Pauilhao
Culturale, Pescara, Itália.
Branco, Museu da Cidade, Lisboa, Portugal. Caribe Insular, Museo Extremeño e Iberoamericano de Arte Contemporáneo, Badajoz,
2001 Demonstration Room (Casa ideal), Museo Alejandro Otero, Caracas, Venezuela; Apex Gallery, New York, EUA; NICC, Amberes, Belgica. Shifting Tides, L.A County Museum, California, EUA; Grey Art Gallery, New York, EUA; Museum of Contemporary Photography, Chicago, EUA. Sonsbeek 9, Arnhem, Holanda. Mega Wave, I Yokohama Triennale, Japão.
Espanha; Casa América de Madrid, Espanha. XXIV Bienal de Sao Paulo, Parque Ibirapuera, Sao Paulo, Brasil. Art and Survival in the Utopian Island, Azu Museum, Tempe, Arizona, EUA. La isla del futuro, Palacio de Jovellanos, Gijón, Espanha. Segundo Salón de Arte Contemporáneo, Centro de Desarrollo de Artes Visuales, Havana, Cuba.
1997 Utopian territories: New Cuban Art, Morris and Helen Belkin
2000 Mirror’s Edge, Vancouver Art Gallery, Vancouver, Canada; Castello Di Rivoli, Turin, Itália; Tranway Glasgow, Scotland, UK. From the negative: Conceptual Photography from Cuba, Parts Gallery, Minneapolis, EUA; North Dakota Museum, EUA. Más allá del Documento, Museo Centro de Arte Reina Sofia,
Art Gallery and Contemporary Art Gallery, Vancouver, Canada. El individuo y su memoria, VI Bienal de La Habana, Centro Wifredo Lam, Havana, Cuba. Space/Fire, 97 Kwangju Biennale, Kwangju, South Korea. Memorias íntimas, marcas, Cuito Cuanavale, Centro Cultural Portugués, Luanda, Angola; The Castle of Good Hope, Cape Town,
South Africa.
Trans (intro) post-diario, Galería La Fundición, Bilbao, Espanha.
Festival Internacional de la Ciudad de Medellín, Medellín, Colombia.
The New Generation, FotoFest, The Menil Collection, Houston, Texas,
Trienal Internacional del Arte Fotográfico, Romaniemi Art Museum,
EUA.
Helsinki, Finland.
Utopía, Galería Casa del Joven Creador, Sede de la Asociación Hermanos Saíz, Havana, Cuba.
1996
Entornos y circunstancias, V Bienal de la Habana, Museo Nacional de
Las otras escri(p)turas, Centro de Artes Plásticas y Diseño, Havana,
Bellas Artes de Cuba, Havana, Cuba.
Cuba.
La nueva generación: fotografía contemporánea de Cuba, Fototeca de
Río Almendares, ni fresa ni chocolate, CENCREM, Havana, Cuba.
Cuba, V Bienal de La Habana, Havana, Cuba.
Carne, Espacio Aglutinador de Arte, Havana, Cuba.
V Bienal de la Habana, Kunst Forum Ludwig, Alemanha.
1995
1993
Africus’95, 1st Johannesburg Biennale, South Africa.
Las metáforas del templo, Centro de Desarrollo de Artes Visuales,
Una de cada clase, Centro Nacional de Conservación, Restauración y
Havana, Cuba.
Museología (CENCREM). Fundación Ludwig de Cuba, Havana, Cuba.
1991
Cuba: la isla posible, Centre de Cultura Contemporània de Barcelona
Si Tim tiene, Tim vale, IV Bienal de La Habana, Galería del ISA,
(CCCB), Barcelona, Espanha.
Havana, Cuba.
Public Collections
Coleções Públicas
Art Gallery of Ontario (AGO), Toronto, Canada.
Museo Nacional de Bellas Artes, Havana, Cuba.
Centre PasquArt, Biel-Bienne, Switzerland.
Museum of Contemporary Art (MOCA), Los Angeles, USA.
Centro de Arte Caja de Burgos (CAB), Spain.
Museum of Latin American Art (MOLAA), California, USA.
Dallas Museum of Art, Texas, USA.
Museum of Modern Art (MoMA), New York, USA.
Fundació La Caixa, Barcelona, Spain.
Musée de Beaux Arts de Montréal, Canada.
Instituto Inhotim, Minas Gerais, Brasil.
Musée Européen de la Photographie, Paris, France.
La Collection Du Musée National d’art Moderne (Centre Pompidou), Paris, France.
Southeast Museum of Photography, Daytona Beach, Florida, USA.
Los Angeles County Museum (LACMA), Los Angeles, USA. Museo de Arte Contemporáneo de Castilla y León (MUSAC), Spain. Museo del Barrio, New York, USA.
CARLOS GARAICOA
The Bronx Museum of Art, New York, USA. The Museum of Fine Arts, Houston, Texas, USA. The Solomon R. Guggenheim Museum, New York, USA.
Museo Nacional de Arte Centro de Arte Reina Sofía, Madrid, Spain.
64
Tate Modern, London, England.
Curriculum Vitae
Credits Graphic design
Créditos
Projeto Gráfico
Andrey Koens
Fotografia
Edouard Fraipont Oak Taylor Smith Rafael Roncato
Text Texto Juliana Monachesi English translation
Photography
Tradução para o inglês
Roberto Fabra
Thanks to
Agradecimentos
Adailton Pires dos Santos Andrea Nunes dos Santos Andrey Koens Diego Aquino Gislene Ferreira da Silva Graça Machado Gustavo Coutinho Juliana Monachesi Luisa Strina Marina Mantoan Marli Matsumoto María Quiroga Ronald Naganuma Sandro Machado Rodrigues Terezinha Nunes Correia Thamy Echigo
Rua Padre João Manuel 755 Cerqueira César 01411-001 São Paulo SP Brasil Fone: +55 11 3088–2471 www.galerialuisastrina.com.br
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CARLOS GARAICOA
Paisajes de Trabajo