Sunday June 17, 2018


Update: Cuban Artists Invade Europe 

With solo shows in 5 cities, Cuban artists make their mark on Europe this season. Elsewhere, Rocío García opens in Miami, Marlon Portales fills the gallery at Havana’s Gran Teatro, and Elvia Rosa Castro and Gretel Acosta curate Post-Truth in North Carolina. In France, the festival Ola Cuba! brings Cuban art and culture to Lille.

Relational Undercurrents Comes to New York

Following its run at MOLAA, Relational Undercurrents: Contemporary Art of the Caribbean Archipelago opens tonight at the Wallach Art Gallery of Columbia University. In celebration, here's an encore of our article on the show, which appeared this past January. Daniell Cornell, former director of art at the Palm Springs Art Museum, again spotlights Cuban artists in one of the most thought-provoking exhibitions in “Pacific Standard Time: LA/LA."

Solid Abstraction: Bringing Cuban Abstract Art into the 21st Century

Featuring works by 10 Cuban artists on the island and abroad, Solid Abstraction: Strategies of Disobedience in Cuban Art explores contemporary uses of abstract art as both “an act of disobedience” and a continuation of a decades-long tradition in Cuban art. Janet Batet reflects on the exhibition organized by Aldeide Delgado.

Havana on the Potomac: “Artes de Cuba” at the Kennedy Center

New works by Manuel Mendive, Roberto Fabelo, Roberto Diago and other artists—including a seven-screen abstract video animation by Emilio Pérez—turn the Kennedy Center into Washington’s hottest spot for contemporary Cuban art.

Leandro Soto on World Cultures, Cubanidad, and His Show in Havana

From a childhood in Cienfuegos, Leandro Soto (b. 1956) has had a career that has taken him, as an interdisciplinary artist and teacher, to many parts of the world. Soto talked with Cuban Art News via email about his current exhibition at the Museo Nacional de Bellas Artes, and about his art and Cuban identity. “Lo cubano is something open, in constant formulation, that we carry with us everywhere,” he says.
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