382:...: This is a series that creates a testimony. Throughout the entire island of Cuba, hundreds of very diverse bedrooms were photographed, always encountering the unique characteristic of the Cuban idiosyncrasy that made it all possible: their hospitality. Trespassing the boundaries of public space in order to introduce ourselves into a home's most private place, where people spend a third of their lives, where they dream, lay sleepless, undress, procreate... The absence of its inhabitants gives life to the settings, objects, decorations, floors and walls, telling us the individual and collective history. (These images share the silence and the feeling of
432:: In Enrique Rottenberg's recent compositions, gathered by under the misleading word Utopia, there is explicit movement from the self to the masses, from a self-referential subject to the artificial masses: man-mass, woman-mass, people-mass... Social mechanisms unfold on large formats, articulated bodies, connections, forming machine-like devices which consensus engineering puts into motion. These are photo installations of social installations, which make one or the other of its constructive elements visible, all acting on us without us actually realizing it, alienating elements brought to evidence. From its scaffolding emerges a
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way out at any cost, reaching the encounter with what cannot be reconciled. In these provocations there's a struggle, away of resisting. Resisting the orders and those who dictate, but also the dominated and defeated; the gods, the myths, the mimicry and consensus, but to some instance of resisting to destiny itself, to all the established and pre-established destinies, even that off innateness and the indecipherable meaning of life? Rottenberg is a manufacturer of history, because history is the necessity of life, in its differences with death.
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affectionate, self-produced. Always multiple and open metaphors and symbols, but also downright personal. The disruption of the compositional syntax, the variety of colors found, the exposed textures, the bluntness, are what create a style, and at the limit, an enigma. A wandering language without a country, that of an identity that escapes from the identical, always becoming: becoming-man, becoming-animal, becoming-woman, becoming-mass, becoming-another...
396:: The Family is our own mirror reversed once and again, a parody of society; each image takes to the absurd certain values and ideals, that are sold to us and dominate our existence. But more than that, they include in this same world things that in one way or another are excluded, not repeating publicly proclaimed consciousness; and seeing what happens at the limit. Therefore, this is a work – experiment.
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426:: A portrait invites us to the inner self of a person, in order to discover their internal fissures, what happens when the image itself has a fissure? An unfinished image takes the spectator to share the incompleteness inherent to subjectivity and life itself, its divisions and gashes. These are portraits that expose the interior exile which for many is the main objective.
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There is a movement that doesn't stop within
Rottenberg's work, repeated and distressing, which builds its multiple layers, all the way from the greatly theatrical to the edge of reality, from the shadows of dreams to the brutal light of the vigil, from self-narcissism to mass psychology, to find the
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The photographic work of
Enrique Rottenberg may be considered controversial, satirical, manic-melancholic, lewd, empathic, alarming...The reasons behind the attraction that it causes, whether it be of allure or tension, laughter or pain, surprise or rejection, beauty and horror, are diverse, but they
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for minorities, understood by
Deleuze as those are not represented in the consensus model, but rather those marginalized from it, lost, all invisible under cloak of the proposal of how to be happy, how to get goods, how to be recognized, how to exercise our sexuality, of ambiguous political ideals
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But yet, everything that seems obvious and familiar becomes paradoxical and borderline absurd. Perhaps
Rottenberg's photography is an unsuspecting heir to his film imagery, and tries to represent timeless and motionless scenes, stunned characters, suspended environments, frozen stories, as if each
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Rottenberg's language is paradoxical, whence that feeling of surprise and perplexity: on one side he's directly affective unwilling to re-create metaphors; his images are cries, onomatopoeias, moans, silences; on the other hand, he makes poetry, creating metaphors as a side effect, immanent to
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He is also a destroyer of illusions. He has the ability to distress the subject, until he reveals some invisible, strange place within himself. The looks in his portraits are incisive, painful, powerful, and at the end of that open crack primary helplessness looms. In his composition she uses
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and every one of them were shocked by suddenly coming to light, while remaining irremediably suspended. But this is the face-surface that is capable of opening towards another movement and another time, unknown, unusual, disjunct: the other scene – the fantasy, and the other scene of reality.
402:: A witness of the forgotten souls that live in bygone colonial homes, ghosts with no present and without memories; witnesses of those forgotten who have forgotten themselves. (One more tribute to Memorias del Subdesarrollo/ Memories of Underdevelopment, by Tomas Gutiérrez Alea)
414:] of imaginary beings with their plots and traumas, universal myths and personal fantasies, the dark sides of their neurosis and their social status. These are the result of intimate psychoanalytical sessions between me and the camera, that once and a while [
291:(Dormir con) was exhibited at the Cuban Photo Library (National Photography Museum), which is now part of the collection of this institution and of numerous private and institutional collections, along with other works of his.
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all seem to be gathered in a certain way under the
Schelling's definition of the term: the disturbing oddness or the ominous (unheimlich): "(...) everything that being intended to remain a secret, hidden, has come to light."
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After serving in the
Israeli army, he developed a successful real estate business, while at the same time, beginning in 1980, he started producing films and studied at the Camera Obscura School in
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was selected by
Discoveries of PhotoEspaña 2011. Today, his work has wide recognition amongst both the public and critics. He took part in the 2012 Havana Biennial with two of his series,
262:, which won seven awards from the Israeli Film Academy (including Best Film, Best Director and Best Screenplay) and represented Israel in 1994 at the Oscars.
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where he currently lives. In Cuba, he built the
Miramar Trade Center, a major business complex in the city of
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eloquent backgrounds, as if what is behind the scene were the undertone of his real meaning.
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345:), promoting the development of contemporary photography and visual arts in Cuba.
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693:: Latin American Photography Conference, Casa Oswaldo Guayasamin, Havana, Cuba.
509:: Photo Gallery of Cuba (National Museum of Photography), Havana, Cuba, 2010.
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721:(Body Photography in Cuba por Rafael Acosta de Arriba), 2014 Ed. Polymita.
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and even of standardized beauty, the
Utopias of the social institutions.
256:(with Daniel Waksman). He was the director and screenwriter of the film
216:(August 12, 1948) is an artist currently working with photography and
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220:. His artistic career is as plural as his national identity. Born in
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in 1948, to Jewish parents of Polish descent, he emigrated alone to
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He collaborates with the new cultural project “Cuban Art
Factory” (
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In Cuba, he began his photographic work. In 2010, his first series
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from the article and its talk page, especially if potentially
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553:(in collaboration with Carlos Quintana): Artlima, Lima, Peru
739::(Sleeping with), Acropolis Cultural Establishments, 2010
687:, Havana Biennial, Larramendi Gallery, Havana, Cuba.
699:, Open Space, Revolution and Culture, Havana, Cuba.
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RQR, with Carlos Quintana y Maurice Renoma, FotoFAC
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465:The Double (in collaboration with Carlos Quintana)
322:(2013–2014) as well as large format works such as
491:: Rita Castellote Gallery, Madrid, Spain, 2011.
681:, Havana Biennial, Morro Cabaña, Havana, Cuba.
658:, Fine Arts National Museum, Brasilia, Brazil.
580:: National Museum of Photograph, Havana, Cuba
420:] allow me to lighten the burden of being
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623:, FotoFAC, Cuban Art Factory, Havana, Cuba.
611:, FotoFAC, Cuban Art Factory, Havana, Cuba.
605:, FotoFAC, Cuban Art Factory, Havana, Cuba.
595:: FotoFAC, Cuban Art Factory, Havana, Cuba
589:: FotoFAC, Cuban Art Factory, Havana, Cuba
574:: FotoFAC, Cuban Art Factory, Havana, Cuba
568:: FotoFAC, Cuban Art Factory, Havana, Cuba
557:Shifting Metaphores: Cuba in changing times
547:: FotoFAC, Cuban Art Factory, Havana, Cuba
541:: FotoFAC, Cuban Art Factory, Havana, Cuba
537:: FotoFAC, Cuban Art Factory, Havana, 2017
533:: FotoFAC, Cuban Art Factory, Havana, 2017
503:: Video Art Festival, Camaguey, Cuba, 2011.
479:: Kunsthalle HGN, Duderstadt, Germany, 2016
771:Nave Fotográfica. Fábrica de Arte Cubano.
733:, Acropolis Cultural Establishments, 2013.
473:: FotoFAC, Cuban Art Factory, Havana, 2016
453:Shifting Metaphors: Cuba in changing times
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56:about living persons that is unsourced or
127:Learn how and when to remove this message
252:(by filmmaker Amos Gutman) and the film
748:National Museum of Photograph (Havana)
710:, Arte x Arte, Buenos Aires, Argentina.
485:, Fotogram, Amsterdam, Netherland 2011.
675:, Photo Gallery of Cuba, Havana, Cuba.
617:, Kunsthalle HGN. Duderstadt, Germany.
306:Among the most important series are:
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691:Ambito 21: Women, object or subject?
783:Enrique Rottenberg´s official page
664:, La Acacia Gallery, Havana, Cuba.
629:, Cuban Art Factory, Havana, Cuba.
609:From the sublime to the ridiculous
559:: ROSFOTO, San Petersburg, Russia
524:: Cuban Art Factory, Havana, 2018
240:. Among his best known films are:
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461:: Cuban Art Factory, Havana, 2017
330:(2014) and photo installations:
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603:Nobody knows what a body can do
578:A hundred years of Cuban Women
497:: Globs, Vienna, Austria, 2011.
455:: ROSFOTO, San Petersburg, 2017
408:: These are staging's [
650:Cuba, image and possibility II
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656:Cuba, image and possibility I
280:, published under the title:
259:Revenge of Itzik Finkelstein
207:photography and installation
34:biography of a living person
673:Thinking in common Thoughts
483:Enrique Rottenberg exhibits
467:: ArtLima, Lima, PerĂş, 2017
442:Exhibitions and collections
61:must be removed immediately
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284:, Quarto, Spain, in 2006.
250:Himo the King of Jerusalem
763:Madeleine Plonsker, U.S.
757:Kunsthalle HGN (Germany)
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760:21c Museum Hotels, U.S.
374:Statements of his series
737:Catalogue Dormir con...
727:, Kunsthalle HGN, 2014.
725:Catalogue Close up Cuba
708:Cuba-Absolut Revolution
652:, Melbourne, Australia.
566:Subjects and Predicates
265:In 1993, he arrived in
731:Catalogue Four Seasons
343:Fábrica de Arte Cubano
48:Please help by adding
719:The Allure of a Gaze
332:19 women and one bed
76:"Enrique Rottenberg"
54:Contentious material
802:Cuban photographers
754:MOCA (Los Angeles)
646:, Tel Aviv, Israel.
635:, Tel Aviv, Israel.
282:La mujer de su vida
276:He wrote the novel
627:Labyrinth, FotoFAC
621:Different Identity
228:at the age of 13.
214:Enrique Rottenberg
145:Enrique Rottenberg
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767:References
551:The Double
394:The Family
312:The Family
297:The Family
117:April 2015
87:newspapers
400:Forgotten
336:The dance
328:Centipede
316:Forgotten
278:Cejalinda
232:Biography
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338:(2014).
326:(2014),
324:The Line
318:(2013),
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