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PT Untitled Art, 2024
Eloy Arribas - Ariel Cabrera - Ariamna Contino - Roberto Diago - Carlos Garaicoa - Flavio Garciandía - Fuentesal Arenillas - Miki Leal - Los Bravú - Eduardo Ponjuán
December 4 - 8, 2024
Booth: B17
In this edition of Untitled Art Miami Beach we wanted to explore, through a fun and contrasting selection of works by Hispanic American artists, the ductility of a concept such as Atlantism. Imaginaries from one side of the Atlantic and the other converge to oxygenate the spheres of collective reflection of contemporary societies interwoven today in that increasingly intense connection between Latin American Art, art made by Latin American artists in the diaspora and Spanish Art.
Strappo in acrylic and oil on canvas
162 x 130 cm (63 x 51.2 in)
This series of paintings is created using a unique technique: the drawings are produced using the method of the strappoin which the paint surfaces are drawn from a single wax mold that is continually modified with each drawing. This technique establishes a bidirectional genealogy between the various drawings, ensuring that, at any given moment, it is possible to trace the position of each piece within the ensemble and identify its predecessors and immediate successors. As in a palace with a infilata di stanze (a suite of rooms), where the next room cannot be accessed without passing through the previous one, this method embodies a physical conception of time: it passes as you go through it, and the room (or the drawing) is taken as the unit of measurement.
Since the previous drawing is not erased from the wax mold, there remain traces of the previous works that partially fade away as the series (and the journey) progresses. In this way, and under the premise of representing essential figures (plants, architecture, figure, etc.), the accumulation of marks and residues gradually abstracts the original figuration, entering into a subtle game of obfuscation and concealment.
The developer's, from the Thematic Parks series, 2024
Oil on linen
183 x 183 (72 x 72 in)
In his works, Ariel Cabrera selects images extracted from pre-established patrimonial documents to delve into complex areas and little explored aspects of the history of Cuba and the United States. He establishes references related to the beginnings of photography and its forms, generating a dialogue with painting. In addition, he proposes scenarios about military events of the struggles for independence, creating simultaneous events and hypothetical historiographic dialogues that subject history in general to scrutiny, where sarcasm, the erotic-burlesque and the playful are present in romantic struggles and intimate scenes conceived as campaign notes and short stories.
The visitors, 2024
Oil on linen
200 x 200 (78 x 78 in)
In his works, Ariel Cabrera selects images extracted from pre-established patrimonial documents to delve into complex areas and little explored aspects of the history of Cuba and the United States. He establishes references related to the beginnings of photography and its forms, generating a dialogue with painting. In addition, he proposes scenarios about military events of the struggles for independence, creating simultaneous events and hypothetical historiographic dialogues that subject history in general to scrutiny, where sarcasm, the erotic-burlesque and the playful are present in romantic struggles and intimate scenes conceived as campaign notes and short stories.
Hand-cut paper / 300 g Fabriano card stock, cold-pressed, acid-free, and museum glass
160 x 160 cm (63 x 63 in)
Ariamna Contino builds her works from the ritualistic and extremely meticulous technique of "openwork paper". This procedure contrasts with the themes she addresses, almost always anchored in controversial and highly topical phenomena. Ariamna develops a special interest in historical, environmental and socio-cultural issues, adopting an inquisitive gaze towards ongoing conflicts and phenomena that demand constant revisions. From the data she collects in her research, she composes her own visual narratives on issues such as drug trafficking in Latin America, narco-aesthetics, the underground economy in Cuba, the trade of classified information, among others.
Recently, Contino's work has begun to focus on the interstitial zones between the natural and cultural worlds. From that perspective, he explores new approaches to national identity and constructs other physiognomies for insularity.
Untitled, 2024
Bronze, fabric and wood
64 x 40 x 38 cm (25.2 x 15.7 x 15 in)
Roberto Diago examines the condition of the Cuban Afro-descendant in the social territory of the Revolution. His cultural and sociological vision fully understands the effects of colonial processes in the nations that suffered them. These traces are visible in the levels of marginalization and segregation as well as in the epistemic and linguistic levels.
Diago denounces, exposes and develops exercises of cultural resistance that allow him to speak from a self-conscious and maroon otherness, claiming other religious belongings, other canons of beauty and other views on the white world that inhabits the West.
B/W photo printed on puzzle, photo laminated on Dibond, wood, plexiglass.
68 x 96 x 12.5 cm (26.77 x 37.8 x 4.92 in)
Carlos Garaicoa's work develops a dialogue between art and urban space through which he investigates the structure of contemporary cities. From a multidisciplinary approach, Garaicoa addresses cultural and political issues, especially Cuban ones, through the study of architecture, urbanism and history. One of his main thematic centers has been post-revolutionary Havana, where he developed much of his work and whose deterioration and urban decay he witnessed first hand. Through sculpture, drawing, video, photography and installation, the artist has addressed, through narrative and critical narrative, the utopian architecture and the collapse of the main urban centers.
ideologies of the 20th century.
Dear Conchita, 2024
Canvas, plaster bandage, rope, cardboard,
wooden boxes, photography
170 x 60 x 35 cm (67 x 23.6 x 13.8 in)
Fuentesal Arenillas' work delves into the fields of semiotics and anthropology to structure a type of artistic creation that is, at the same time, a game, a totem, an archive and an event. The duo draws on the Dadaist tradition and concrete art to define an imaginary in which the mundane, the accidental and the superfluous acquire an almost monumental dimension. Fuentesal Arenillas has generated a universe of artistic objects deeply marked by the duality between the physical and the thought.
Among the fundamental ideas of his work we can mention the exploration of a drawing-like volume, in which line becomes solid matter; evolution as a vital event; the mutation of materials; time as the center of attention; a taste for the folk traditions of craftsmanship in the face of challenging modernity; and an interest in the unfinished and often disposable states of the staging of the canon.
This peculiar aesthetic implies that every object they imagine is an echo of the body, a cell of meaning in which all discussions of the erotics and mysticism of being are stripped of conflict, sexism or ambiguity.
And now what!, 2024
Acrylic and watercolor on Canson paper
Montval 300g.
Diptych: 220 x 304 cm (86.6 x 119.7 in)
Always working on paper, Miki Leal develops a very personal and abstract imaginary with pop and dreamlike nuances. His creative methodology is based on association to find elements on which he will insist later with the energy and versatility that characterize his painting.
Among the most recurring themes in his work are his family and domestic environment, his passion for various musical genres and the presence, as a leitmotiv, of a symbolic corpus based on the geometry of decorative patterns; a geometry, it should be noted, of Sevillian inspiration (tiles, mosaics, terrazzo).
The rooster has crowed, 2024
Acrylic on canvas
180 x 150 cm (70.9 x 59 in)
Dea Gómez and Diego Omil have been working together since 2012 under the name "Los Bravú", a Galician term used to refer to the smell of animals. They have ventured into different media: comics, drawing, ceramics, painting, sculpture and installation. Their peculiar pictorial language of figurative tone, seasoned with slightly surrealist fantasies and a neo-Mannerist virtuosity, stands out for the methodical use of collage and fusion. The duo mixes contemporary design, fanzines, mass media, and an academic aesthetic reminiscent of the Renaissance masters of the Italian Renaissance (15th and 16th centuries) and magical realism (first half of the 20th century). In addition, they mix different ways of painting on the same canvas, so that each element of their pieces has an untransferable identity crossed by urban culture, urban and vernacular culture, fascination and irony.
My Money Never Runs Out, November 21, 2023
Oil and 24 carat gold leaf on canvas
150 x 150 cm (59 x 59 in)
Eduardo Ponjuán is one of the essential artists in the historiography of Cuban art. His work, which emerged during the eighties, has the capacity to go beyond the precipice of certain truths, to surpass itself as a discursive generator, to shock, to make us shut up and force us to observe it compulsively. The key point of this, somehow capricious and tremendous, seems to reside in its unlimited talent to invoke that which can be vital for man. That is the source of his most fertile and polysemic silences. His work moves in different directions, supported by the alibi of a conceptualism that has reinvented itself over and over again. Sometimes he speaks with a light monosyllabic accent, sometimes he turns scathing and shouts without any inhibition. There is no precise and fair way to categorize him, because in his case any taxonomy becomes reductionist. Ponjuán is a painter, installer, draftsman, conceptual artist and inexhaustible thinker. All art is for him a starting point, the trough where he takes what he needs to question the world.
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