Carlos Garaicoa

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Residencia

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Exposiciones colectivas vigentes
Toda utopia pasa por la barriga

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Profesionales que le han comisariado
Agustín Pérez Rubio en: Orden inconcluso / Unfinished order, 2016
Carlos Garaicoa. The Politics and Poetics of Space, 2015
Orden inconcluso, 2014
Alexandre Baptista en: Bestiario, 2023
Claudia Gioia en: El Palacio de las Tres Historias, 2018
El Palacio de las tres historias, 2017

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Premios ganados
PEM Prize 2021
Premio de arte latinoamericano EFG - ArtNexus 2013

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Artistas comisariados
Fernanda Fragateiro en: Deep Space, Shallow Space, 2011
Marlon de Azambuja en: Intención de Panorama, 2007

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Ferias en las que participa con OBRA
Artissima 2024
Art Basel 2024
Taipei Dangdai Art & Ideas 2024

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Galerías y otras organizaciones que le representan

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Organizaciones con obra

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Profesionales con obra

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ACTIVIDAD VIGENTE

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Etiquetas
Arquitectura  Arte contemporáneo  Arte cubano  Arte iberoamericano  Arte latinoamericano  Ciudades  Dibujo  Escultura  Fotografía  Instalacion  Instalación  Video arte 

ENLACES OFICIALES
Web 

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Descripción del Artista

A través de instalaciones, esculturas, fotografías, dibujos y otros soportes, la obra de Carlos Garaicoa examina el espacio urbano al tiempo que lo considera un escenario simbólico. Las conexiones entre el tejido social y la arquitectura de la ciudad alimentan un enfoque multidisciplinar que se desarrolla en operaciones conceptuales, lingüísticas y poéticas que ponen de relieve dinámicas culturales e históricas particulares a un lugar determinado. Al abordar el paso del tiempo, la memoria colectiva, el lenguaje y el pensamiento proyectivo, la obra de Garaicoa ofrece una visión crítica de la influencia del mercado financiero en la configuración de las ciudades, el legado de las utopías del siglo XX y sus planes de modernización. Garaicoa ha participado en importantes exposiciones en todo el mundo, como Documenta 14, en 2017, Documenta 11, en 2002; la 51ª y 53ª Bienal de Venecia, en 2005 y 2009, respectivamente; la Bienal de São Paulo, en 1998, 2004 y 2010; la 31ª Panorama da Arte Brasileira, en 2009; la 12ª Bienal de Gwangju, en 2018; además de numerosas ediciones de la Bienal de La Habana. Entre sus exposiciones individuales más recientes Toda utopía pasa por la barriga, Centro Atlántico de Arte Moderno - CAAM y Es Baluard Museu d'Art Contemporani de Palma, España, 2024; Ascoltare il volo degli uccelli, Rocca Maggiore, Italia, 2024; Oratorio, Oratorio San Filippo Neri, Italia, 2022; Soñamos en la superficie rayada de un cristal, Wellbeing Summit Week, España, 2022; Partitura, PEM - Peabody Essex Museum, EE.UU., 2021. Otras exposiciones individuales fueron presentadas en: SCAD Museum of Art, Estados Unidos, 2020; Lunds Konsthall y Skissernas Museum, Suecia, 2019; Parasol Unit Foundation, Reino Unido, 2018; Fondazione Merz, Italia, 2017; MAAT, Portugal, 2017; Azkuna Zentroa, España, 2017; Museum Villa Stuck, Alemania, 2016; Nasjonalmuseet, Noruega, 2015; CA2M - Centro de Arte Dos de Mayo, España, 2014. Garaicoa ha recibido el Premio PEM 2021, del Peabody Essex Museum de Salem (EE.UU.). En 2005 recibió el Premio Internacional de Arte Contemporáneo de la Fundación Príncipe Pierre de Mónaco y el Premio Katherine S. Marmor, del MOCA de Los Ángeles. Su obra figura en colecciones institucionales como las del Centre Pompidou, París, Francia; CA2M, Madrid, España; Dallas Museum of Art, Dallas, EE.UU.; LACMA, Los Ángeles, EE.UU.; Museo del Barrio, Nueva York, EE.UU.; Museo Nacional Reina Sofía, Madrid (España); MOCA, Los Ángeles (EE.UU.); Museum of Fine Arts, Houston (EE.UU.); MoMA, Nueva York (EE.UU.); Museo Nacional de Bellas Artes, La Habana (Cuba); Tate Modern, Londres (Reino Unido); The Guggenheim Museum, Nueva York (EE.UU.). ----------------------------------------------------------- Carlos Garaicoa was born in 1967 in Havana, Cuba. The artist studied thermodynamics before his mandatory military service, during which he worked as a draughtsman. Garaicoa then attended the Instituto Superior de Arte in Havana from 1989 to 1994. Since the early 1990s, Garaicoa has employed photography, performance, drawing, sculpture, installation, text, and video to comment on architecture's reflection of and effect on the political, economic, and cultural reality of cities. Although he references other international metropolises, much of his work critiques the architectural policies enacted in Havana following the 1959 revolution, which halted new projects and neglected older buildings in desperate need of preservation. In early works like 39 (1991) and Homage to the Six (1992), Garaicoa photographed his interventions into the urban environment, capturing the changes and subsequent human reactions. The photograph Untitled (Decapitated Angel) (1993) reveals a headless statue of an angel at the foot of what was once a grand banister but now sits abandoned within a dirt-coated hallway; the fall of this utopia is clearly attributed by bold letters stating “FIDEL” at the center of the photograph. Garaicoa later exhibited photographs of dilapidated buildings juxtaposed with his own drawings of the sites. In the drawn component of About Those Untiring Atlantes that Sustain Our Present Day by Day (1994–95), the artist replaces the photographed wooden supports struggling to hold up a Havana residence with a trio of muscular Atlantes performing the same function. As an artist in resident at Art in General in New York, Garaicoa created the series When a Desire Resembles Nothing, which offered up a comparison of Havana and New York City. In the mid-90s, Garaicoa began to incorporate additional mediums and installation techniques into his investigation of the urban landscape. He pessimistically interrogated the theme of a garden as a respite from urban life in the photographic series Cuban Garden (1996–2000) and in the multimedia installations Japanese Garden (1997) and Garden (1998). Garaicoa also created large complexes of architectural models between 1998 and 2002 using varied materials such as crystal home decor, Japanese lanterns, and lit candles. At Documenta 11 in 2002, Garaicoa presented a series of architectural models with corresponding black-and-white photographs; the optimism and potential implied by the bright, clean maquettes cruelly contrasted with the photographs revealing the actual dilapidated state of the sites themselves. In his recent work, Garaicoa has created diptychs juxtaposing a black-and-white photograph of a building with another in which that building has been extracted; in the latter, the artist implies the structure's ghostly presence with a rendering of the building in string and pins. Solo exhibitions of Garaicoa's work have been mounted at Centro de Arte Contemporáneo Wifredo Lam in Havana (1994, 1998, and 2003), Art in General in New York (1996), Bronx Museum of the Arts (2000), Museo de Artes Visuales Alejandro Otero (2001), Maison Européene de la Photographie in Paris (2002), Massachusetts Museum of Contemporary Art in North Adams (2005), Museum of Contemporary Art in Los Angeles (2005), and Institute of Contemporary Art in Philadelphia (2007). His work has also been included in major exhibitions like the Havana Bienal (1991,1994, 1997, 2000, and 2009), Johannesburg Biennale (1995), São Paulo Bienal (1998 and 2004), Documenta 11 (2002), Venice Biennale (2005 and 2009), and Shapes of Space at the Solomon R. Guggenheim Museum (2007). Garaicoa lives and works in Havana.

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