Tag : Cuban photography

thumbnail Mar 19

“HABEAS CORPUS: NUDE, IDEOLOGY AND IDENTITY IN CUBAN PHOTOGRAPHY (1982-1993)”, by WILLY CASTELLANOS at Aluna Art Foundation, Miami

Saturday, March 22nd/2014 at 7:00pm

ALUNA ART FOUNDATION
172 B WEST FLAGLER STREET
MIAMI, FL 33130

Aluna Art Foundation & Focus Locus cordially invites you to “HABEAS CORPUS: NUDE, IDEOLOGY AND IDENTITY IN CUBAN PHOTOGRAPHY (1982-1993)”, the last of our talks with art historian, curator and photographer WILLY CASTELLANOS; as part of the series “ART, DOCUMENT AND REALITY: REFRACTIONS ON PHOTOGRAPHY IN CUBA” (History, Theory and Criticism).

WILLY CASTELLANOS An art historian, curator and photographer, holder of a degree in History of Arts from the University of Havana (1993) were he graduated with a thesis on photography: “Nude as Objet and Strategy in Cuban Photography (1982-1993)”; Castellanos left Cuba in 1994 to Argentina.
In 2001, he moved to Miami, where he actually lives and works. His writings on art have been published in the magazines Fotomundo (Buenos Aires), Revolución y Cultura (Havana), P’alante Magazine/The Sun Sentinel (Broward, FL), Arte al Día International, LetraUrbana.com and Nagari Magzine, as well as in several exhibition catalogs in the United States.
In Miami, Castellanos was the Curator of the photography exhibition “Prayers for Saints and Orishas” at the Spanish Cultural Center of Miami (CCE), and also of “New Gods by José Franco,” and “20 Brands by Felix Beltrán” (co-curated with Rafael López-Ramos) for the Miami Dade College Art Gallery System (AGC).
Castellanos is the co-author of the critical essay for the book of Cuban photographer Raúl Canibano published by La Fabrica (Madrid, 2012); and is currently working on the publication of two more books on Cuban contemporary photography.
His photographic essay “Exodus: a missing page in history”, which documents the start of the massive wave of “rafters” that left the coast of Havana in 1994, was selected and invited in 2012 to open the Photoamerica edition of Arteamericas, the Latin-American Contemporary Art Fair of Miami. His shots have been featured in one-man and group shows in Cuba, Argentina, Brazil, and the United States.

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thumbnail Mar 5

Juan Antonio Molina Cuesta: A Conversation on Cuban Photography of the 90’s at ALUNA ART FOUNDATION, Miami

Thursday March 6th, 2014 at 7:00pm

ALUNA ART FOUNDATION
172-b west Flagler Street,
Miami FL 33130

Aluna Art Foundation cordially invites you to our ongoing talks | March 2014
ART, DOCUMENT AND REALITY: REFRACTIONS ON PHOTOGRAPHY IN CUBA (History, Theory and Criticism)
“SINCE THE WHORES HAD GONE: URBAN SPACE, EROTICISM, DOCUMENT, AND POLITICS”.
A conversation on Cuban Photography of the 90’s by art critic and curator Juan Antonio Molina (in Spanish)

“SINCE THE WHORES HAD GONE” is the title of the book in process that brings together newspaper articles, essays, and chronicles, written during the last 20 years by Juan Antonio Molina on contemporary Cuban Photography. The book will also include subjects as the representations of urban space, the relationship between photography and poetry, body, fiction, staging, and the different alternatives of what the author called “New Documentary in Cuba”. Parallel to these reflections, the essay opens a space on identity and rootlessness, aesthetic utopia and political disenchantment, as well as memory and the recent national history.

JUAN ANTONIO MOLINA (Havana,1965)

Art critic, professor and independentcurator, Juan Antonio Molina was a researcher and curator for the Fototeca Nacional de Cuba and for the Wifredo Lam Center – which organizes the Havana Biennial. In Mexico he was a contributor to the Fototeca Nacional of the Instituto Nacional de Antropología e Historia, and for the Centro de la Imagen (Images Center?) of the Centro Nacional de las Artes. In 2009, he wasthe coordinator of the XIII Bienal de Fotografía of Mexico, organized by the Centro de la Imagen and the Centro Nacional de las Artes. Between June and December 2009, Molina was the coordinator of the Seminar of Contemporary of the Centro de la Imagen.

In recent years, Molina has taught and lectured at The Universidad Autónoma Metropolitana, The Universidad Autónoma de Nuevo León, The Universidad Veracruzana, and The Instituto Potosino de Bellas Artes among others. His writings have been published in Aperture, Arte al Dia International, Replicant, C International Photo Magazine, Arte Cubano, Encuentros de la Cultura Cubana, Fisura, Arte y Naturaleza, Origina, Tierra Adentro, Atlántica Internacional de las Artes, and Estudios Interdisciplinarios de América Latina y el Caribe, among other journals.

He currently leads the project “Página en blando: curatorial works, criticism and art education” in Mexico City.

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thumbnail Oct 19

Gory – Mención Obligatoria

Video about the artist’s work.

In Spanish

To view video click Read More

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thumbnail Mar 31

Mario Algaze – Portfolio

Photographs by Mario Algaze.

Di Puglia Publisher, 2010.

151 pp., Black & white illustrations througout, x12¼”

Introductions by Carol Mc Cusker , chief curator at MoPA with a translation into Spanish by Enrique Fernandez.

Designed by Jorge R. Moya and Alejandro Anglada of MGSCOMM, NY

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thumbnail Mar 19

Abelardo Morell – Outside-in, upside-down — and now in color!

photographs by
Abelardo Morell

plus an audio interview with the
photographer by Jim Casper

Lens Culture Magazine

Abelardo Morell travels the world and converts full-size rooms (some spare, some ornately rococo) into immense camera obscura devices. He brings the outside in through a tiny pin-hole, and by the alchemy of optics, the outside is projected quite naturally upside down superimposing and hugging the surfaces of everything in the room. Then, he photographs the resulting “installation” with his 8 x 10 view camera and enlarges the prints to mural size.

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