{"id":5136,"date":"2023-01-19T17:08:52","date_gmt":"2023-01-19T17:08:52","guid":{"rendered":"https:\/\/vesaniart.com\/en\/?post_type=tribe_events&p=5136"},"modified":"2023-03-21T11:01:07","modified_gmt":"2023-03-21T11:01:07","slug":"fervor-de-cuba-exposicion-de-alexander-lobaina-en-el-cafe-belen-madrid","status":"publish","type":"tribe_events","link":"https:\/\/vesaniart.com\/en\/exposicion\/fervor-de-cuba-exposicion-de-alexander-lobaina-en-el-cafe-belen-madrid","title":{"rendered":"“FERVOR DE CUBABA” exhibition by Alexander Lobaina at Caf\u00e9 Bel\u00e9n, Madrid (Spain)"},"content":{"rendered":"qr-lobaina-copia<\/a>\n","protected":false},"excerpt":{"rendered":"Cuban artist Alexander Lobaina presents his work for the first time in Spain at Caf\u00e9 Belen in Madrid, from February 21 to March 19, 2023. It is a selection of works from his famous series “Fervor de Cuba” exhibited at the National Museum of Brazil. The exhibition, organized by Vesaniart Art Gallery and Bel\u00e9n Artspace, is curated by Nuria Delgado and opens on February 21 at 7 pm. with the presence of artist.\r\n\r\nThe series “Fervor de Cuba”, formed by more than 40 works of 40 x 60 cm. made in acrylic on cardboard, is a revisitation of the work made by Lobaina during the 90s. The series dialogues with movements especially significant for the artist such as pop art, hard edge or minimal art; also fusing direct references to his life and current society. The series has been created to be exhibited both in separate pieces or as a mural; generating in that case and given the scale and chromatic range, a hypnotic state in the viewer. \r\n\r\n“My works contribute semantic and morphological elements as well as “staging” to the recurrent emblematic (of pop art roots) of my previous work, becoming true multi-referential palimpsests on many occasions. In a certain way, it is a reactualization of the discourse from the incorporation of slogans and images of the present time that establish a counterpoint with those that, without losing validity, refer us to the most rancid years of the so-called special period; all this through panels or sets of works that elude any discursive sequence or associative metaphor, pretending rather, given the scale, a hypnosis by the image or the nihilism resulting from the horror vacui (in the series Fervor de Cuba). To the contextual references (absorption or parody of posters, billboards, murals and graphics of all kinds; popular and kitsch painting and ultimately all the urban visual folklore) is added the direct dialogue with the history of art beyond the international pop art; now the Hard Edge with all its chromatic intensity, neutrality or non-referentiality and emphasis on the intellectual side of the pictorial expression and the Hard Core with its intentional and eloquent subliminality interact openly with elements taken from the immediate reality, resulting in effective weapons to dialogue and reflect on that same reality and power relations of all kinds: social, economic, technological, sexual (sexuality is one of the ways in which power penetrates bodies) that are established between human beings from their total nakedness, not defenselessness, beyond some attribute of power they may carry -pistol, plume or Indian chief’s pipe, etc. (in the series On the Seduction of Power). This scheme of domination\/subjugation is resolved through the seduction that power itself exerts through the image, a cultural transvestism, not at all recent, to which power has appealed in order to continue exercising its practices of authority. That is why the reductionism of human figures and the appeal to the principles of graphic design, together with the stridency of color, in the making of the pieces are a nod to “color field painting”, to minimal art, to neo-realism (Frank Stella, Ellsworth Kelly, Kenneth Nolan, Bruce Nauman… even Yves Klein), to the “color field painting”, to the “color field painting”, to minimal art, to neo-realism (Frank Stella, Ellsworth Kelly, Kenneth Nolan, Bruce Nauman… even Yves Klein), to the “color field painting”. even Yves Klein) , at the same time a subtle and valid tool in function of enhancing the idea of absolute objectivity –originating from a part of these movements–, in relation to the autonomous character of the artistic object itself, the concept of power as a producer of things and subjects, knowledge and discourses and the reality that surrounds me.”","protected":false},"author":1,"featured_media":5137,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_tribe_events_status":"","_tribe_events_status_reason":"","_links_to":"","_links_to_target":""},"tags":[],"tribe_events_cat":[5],"_links":{"self":[{"href":"https:\/\/vesaniart.com\/en\/wp-json\/wp\/v2\/tribe_events\/5136"}],"collection":[{"href":"https:\/\/vesaniart.com\/en\/wp-json\/wp\/v2\/tribe_events"}],"about":[{"href":"https:\/\/vesaniart.com\/en\/wp-json\/wp\/v2\/types\/tribe_events"}],"author":[{"embeddable":true,"href":"https:\/\/vesaniart.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/vesaniart.com\/en\/wp-json\/wp\/v2\/comments?post=5136"}],"version-history":[{"count":27,"href":"https:\/\/vesaniart.com\/en\/wp-json\/wp\/v2\/tribe_events\/5136\/revisions"}],"predecessor-version":[{"id":5247,"href":"https:\/\/vesaniart.com\/en\/wp-json\/wp\/v2\/tribe_events\/5136\/revisions\/5247"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/vesaniart.com\/en\/wp-json\/wp\/v2\/media\/5137"}],"wp:attachment":[{"href":"https:\/\/vesaniart.com\/en\/wp-json\/wp\/v2\/media?parent=5136"}],"wp:term":[{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/vesaniart.com\/en\/wp-json\/wp\/v2\/tags?post=5136"},{"taxonomy":"tribe_events_cat","embeddable":true,"href":"https:\/\/vesaniart.com\/en\/wp-json\/wp\/v2\/tribe_events_cat?post=5136"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}