Muestra de la plastica cubana

Roberto Fabelo

He is a Cuban painter, sculptor, and illustrator. Along with fellow Cuban artists such as José Bedia, Fabelo is a member of “the generation of sure hope” who emerged in the 1980s alongside the founding of the First Havana Biennial, at which Fabelo received an award. He has since become known for the absurdist humor he embeds in his watercolors and sculptures, such as his ongoing series of bare-chested women wearing tin pots or conch shells as hats. A prime example of his work is Viaje Fantástico (2012), one of the the largest non-memorial statues in Havana, which depicts a nude woman riding a chicken and armed with a fork. Fabelo has had many solo exhibitions outside of Cuba, including at the Museum of Latin American Art in California in 2014. Born in 1951 in Guáimaro, Cuba, he went on to study at the National Art School and at the Superior Art Institute of Havana. The Cuban government awarded Fabelo a medal for national culture, the Alejo Carpentier, for his outstanding artistic achievements.

Ernesto Rancano

Ernesto Rancaño  Vieties(born in Havana, Cuba, 1968) Graduated from the Academy of Arts of San Alejandro,  Cuba. His works can be found in permanent collections in Panama, Mexico, USA, Switzerland and Spain. Without doubt one of the most remarkable  artist at this time in Cuba.

With an aesthetics that some critics have called ‘post-medieval’, but that owes much to the interpretation of universal art and the exploration of national identity, installed in a fantastic space where any mixture is possible and where sorrows can be enveloped in softness and candour  a search for spirituality that traps the most diverse public can be found in the work of this artist.

In 2007 Ernesto  Rancano was in London as part on a Cuban Art exhibition and met the famous musician Sting, who later purchased several paintings to add it to his private collection of Cuban art.

William Perez

William Pérez was born in Cienfuegos, Cuba in 1965. He studied at the Academia Nacional de Bellas Artes San Alejandro (1986) in Havana, with a focus on sculpture. Pérez works principally in assemblage, using locally-sourced materials to poignantly comment on working-class life in Cuba. Notably, Pérez is a founder of Grupo Punto, a group of young sculptors in Cienfuegos, Cuba. His work has been included in solo and group exhibitions in Brazil, Spain, the United States, Germany, Belgium, Denmark, Cuba and Martinique.

The Merger

The-Merger, formed in 2009 is an artistic enterprise, a tactical union between three creators, Alain Pino, a graduate of the Superior Institute of Art of Havana, with a prolific work excelled by the installation and photographic language; Mario Miguel González (Mayito), cultural activist and self-taught creator and Niels Moleiro, self-taught photographer and painter with extensive experience in the field of economy of art. It is from this union that a common resource of creativity has been triggered. Greatly influenced by the present economic, social and political condition in Cuba, The Merger has culminated into a unified vision, an equation to their circumstance.
They were quoted as saying:
Starting with a bright color finish, and the use of the object magnified, chosen sometimes for its value as a cultural icon as in the case of the Swiss pocket knife, the stiletto, or the car tire, our proposal is very close to the Pop art, but we are also very interested in highlighting social and cultural issues. We often just play cynically with the most basic tools. It is a game with the idea of the popular concept. The social topic is expressed through the popular icons re-elaborated and adapted to new circumstances.
We intervene and manipulate the object to the point of subverting its original function, by mixing it with two or more other objects aiming to enhance its symbolic and anecdotic capacity. We believe that every object has a hidden story in its design as well as in its cultural and historical acquired meaning, and its recycling process in the art field. It is for that reason that any change or manipulation of the object can activate or deactivate its new meanings. So, we are not so much interested in what it is said’, but in how to say it, and try that the new re-assembled appliance structure new meanings.

Lisandra Ramirez

Alex Hernandez

Adislen Reyes

Mabel Poblet

Marlys Fuego