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Cuban government, it was a vast show, but restricted to Latin
America. In 1986 the 2nd Havana Biennial presented the first global show of contemporary art ever: more than 50 exhibitions and events that gathered 690 artists from 57 countries focusing on postcolonial contemporary art and not on traditional and religious practices. The next Biennial edition, in 1989, introduced radical curatorial changes that moved it away from the Venice and São Paulo paradigms, launching a new model that influenced the way in which the new biennials were organized. Transformations included basing the whole event (shows, conferences, workshops, etc.) on a general theme, the combination of a centralized curation that avoided national representations with a decentralized structure involving a constellation of multiple events, the link with the city, and the eradication of awards. Recently, it has become clear that it was the Havana Biennial and not
368:, which he co-curated in 1992 (see below), was a landmark for this new view on Latin American art. Mosquera’s ideas, position and curatorial and editorial practice have been significant in the new scenario of broad international circulation of art. He introduced the notion of "from here" to oppose the “appropriation” paradigms – such as the Brazilian idea of “anthropophagy” – that prevailed to discuss postcolonial art’s strategies, conferring it an active role in the construction of global metaculture. The curator's work has lately focused on projects out of the white cube, trying to achieve artistic communication with broader audiences, beyond the art world’s elite. Some examples are his contribution to the Liverpool Biennial, and shows that have tried to create an active dialogue with the public space and to involve people in the streets, as
335:–an exhibition that was advertised as “the first global show”—, that was initiating the way in which globalization will take shape in art, triggering “a new breed of contemporary biennials born of a global context” (Istanbul, Johannesburg, Gwangju, Lyon, etc.). The Havana Biennial approached for the first time the multiple practices of contemporary art around the world, out of the Western mainstream. Since 1984, Mosquera was Havana Biennial's "leader of the curatorial work", reformulating the premise and methodology of the event, with which his “own aesthetic and intellectual interests became deeply embedded.” He resigned in 1989, immediately after the 3rd Biennial, due to the escalating repression in the cultural sector, and to political contradictions with the Cuban regimen and about the Biennial’s future.
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institutional collaboration established to enhance our understanding of contemporary art. Both a network of relationships and an actual physical site…” with an international program of its own. Mosquera's theoretical work pioneered critical discussions about the complex cultural processes of modern and contemporary art from non-mainstream countries, especially in relation to mainstream art, globalization and postcolonial dynamics. He has also contributed to promote an open, multifaceted view on Latin
American art, moving away from the identity stereotypes that prevailed in the 1980s – his standings being sometimes polemical. The exhibition
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this movement renovated the Cuban art scene, breaking away from official dogmatism and introducing contemporary critical tendencies. It was successful in pushing the
Ministry of Culture to open up towards a more liberal cultural policy. Mosquera’s critical writings on the new Cuban art were instrumental to this turn, while he also promoted the new artists internationally. This movement triggered a critical and reflexive inclination that distinguishes Cuba’s arts until today. Mosquera’s work has also always looked beyond Cuba, as can be seen in his book
504:, Antiguo Arsenal de la Marina Española, Old San Juan; Casa Blanca; Cagas Art Museum; Museum of Art of Puerto Rico; Museum of Art and History of San Juan; Museum and Center for Humanistic Studies Dr. Josefina Camacho Camacho de la Nuez, Turabo University; Museum of History, Anthropology and Art, UPR Río Piedras; Ponce Art Museum; Puerto Rico Museum of Contemporary Art; Puerto Rico, October 24, 2015 to February 28, 2016 (with Alexia Tala and Vanessa Hernández Gracia).
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272:. His theoretical essays – which have been influential in discussing art’s cultural dynamics in an internationalized world, and contemporary Latin American art – are in English, but have been collected in books in Caracas and Madrid in Spanish, and in Chinese in Beijing. Mosquera was the Artistic Director of
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two Cuban artists who had previously been marginalized for the erotic and religious Afro-Cuban (Mendive) content of their art, and as a result of homophobic cultural policies. Mosquera became the main critic and “ideologist” of the new Cuban art, which he supported since its inception. In the 1980s
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Rafal
Niemojewski, "″Venice or Havana: A Polemic on the Genesis of the Contemporary Biennial”″, in Elena Filipovic, Mieke van Hal & Solveig Øvstebø (editors): The Bienal Reader. An Anthology on Large-Scale Perennial Exhibitions of Contemporary Art, Bergen and Ostfildern, Bergen Kunsthall and
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The first Havana
Biennial took place in 1984. It became the fourth international biennial (after Venice, São Paulo and Sydney) and the sixth huge international periodic art event to be established —following the aforementioned biennials, the Carnegie International and Documenta. Supported by the
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he set off a program at the Museum that introduced a broader international approach in the New York art scene. His radical notion of “the museum-as-hub” transformed the New Museum’s
Education Department to include what is called the Museum as Hub, “a new model for curatorial practice and
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Carmen Hernández, "Más allá de la exotización y la sociologización del arte latinoamericano", in: Daniel Mato (coord.): "Estudios y Otras Prácticas
Intelectuales Latinoamericanas en Cultura y Poder", Caracas, CLACSO and CEAP, FACES, Universidad Central de Venezuela, 2002, pp
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in 1984 and remained central to the curatorial team until he resigned in 1989. Since then, his activity has been mainly international, traveling, lecturing and curating exhibitions in 80 countries. Mosquera was adjunct curator at the
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After his resignation to the Havana
Biennial, Mosquera was banned to publish, curate and lecture in his country until today, and since then he has been working as a freelance internationally. In 1990 he was a Guggenheim Fellow.
460:, Madrid, Spain, December–March, 2016; Afundación, Santiago de Compostela, October 2017-January 2018; Sala de Exposiciones de la Diputación de Huesca, Huesca, March–May 2018; Afundación, A Coruña, June–September 2018.
228:(State Academy of Fine Arts) in Amsterdam. His publications include books on art and art theory (and a short stories' volume), and 600 articles, reviews and essays have appeared in magazines, including:
276:, Madrid (2011–2013), the Chief Curator of the 4th Poly/Graphic San Juan Triennial (2015-2016), co-curator of the 3rd Documents, Beijing (2016) and co-curator of the Guangzhou Image Triennial (2021).
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Gabriela Piñero, "Adiós
Latinoamérica: historia de un abandono estratégico. Crítica y curaduría en la producción de Gerardo Mosquera", Buenos Aires, Caiana, n. 6, first semester 2015, p. 19-32.
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Certain Time: The Third Bienal de La Habana and the Origins of the Global Exhibition”, Rachel Weiss and other authors,
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Since the early 1970s he was working as art, cinema and theater critic, researcher and journalist in Havana. He published thorough investigations on
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320:(Design was Defined in October), about Russian avant-garde art and design and its worldly impact, published in Havana in 1989 and Bogotá in 1992.
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Weiss, op. cit., p. 67. Gerardo Mosquera, “The Third Bienal de La Habana in its Global and Local Contexts”, in Rachel Weiss, op. cit., p. 70.
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From Here. Context and Internationalization, Madrid, La Fábrica Editorial, PHotoEspaña, 2012 (editor and contributor). Digital publication.
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Zoya Kocur and Simon Leung (editors): "Theory in Contemporary Art since 1985", Malden, Oxford and Victoria, Blackwell Publishing, 2005.
529:, Paris, October 15, 2012; Fundación MAPFRE, Madrid, February 12, 2013; Museo Amparo, Puebla, June 2013 (with Laura González Flores).
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Gerardo Mosquera, “Against Latin American Art”, in Contemporary Art in Latin America, London, Black Dog Publishing, 2010, p. 11-23.
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Press Release - 20 Dissarangements, Panorama on Brazilian Art, MARCO, Museo de Arte Contemporáneo de Vigo, 2005.
1099:¡Viva la Trienal Poli/Gráfica de San Juan! - Gerardo Mosquera's opening words, published by Universes in Universe
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Perduti nel Paesaggio / Lost in Landscape, Museo di arte moderna e contemporánea di Trento e Rovereto, 2014.
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Revista Codigo - Entrevista con motivo de Crisisss. América Latina, arte y confrontación 1919-2010
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Ponencia: ADIÓS A LA ANTROPOFAGIA: ARTE, INTERNACIONALIZACIÓN Y DINÁMICAS CULTURALES | CIRCULO A
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may contain an excessive amount of intricate detail that may interest only a particular audience
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1991, Permanent Advisor, Instituto Superior de Artes Plásticas Armando Reverón, Caracas
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Contracandela. Ensayos sobre Kitsch, identidad, arte abstracto y otros temas calientes
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Iberoamericana Vol. 12, Num. 45 (2012) - Desplazamientos, contextos y compromisos.
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His essays on Cabrera Moreno and Mendive were later gathered in Gerardo Mosquera,
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Walker Art Center | Adiós Utopia: Dreams and Deceptions in Cuban Art Since 1950
577:. Contentious material about living people that is unsourced or poorly sourced
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511:, Museo di arte moderna e contemporánea di Trento e Rovereto, April 4, 2014.
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any relevant information, and removing excessive detail that may be against
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Here We Are. Richard Avedon, Richard Billingham, Paz Errázuriz, Lilla Szász
433:, Texas, USA, March 3, 2017 (with René Francisco Rodríguez and Elsa Vega),
355:, although his work was seriously hampered by legal constraints due to the
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Caminar con el diablo. Textos sobre arte, internacionalización y culturas
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536:, Círculo de Bellas Artes, Madrid, June 7, 2011 (with Mónica Portillo).
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Caminar con el Diablo. Textos sobre arte, internacionalismo y culturas
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2005, CIFO Grants and Commissions Programs’ Advisory Committee, Miami
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4th Poly/Graphic San Juan Triennial: Latin American and the Caribbean
224:, New York, from 1995 to 2009. Since 1995 he has been advisor in the
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Muestra Internacional de arte Contemporáneo en la Ciudad de Córdoba
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Beyond the Fantastic: Contemporary Art Criticism from Latin America
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MFAH | Adiós Utopia: Dreams and Deceptions in Cuban Art Since 1950
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The Global Art World Inc. On the Globalization of Contemporary Art
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402:, Galleria Nazionale d'Arte Moderna e Contemporanea, Rome, 2022.
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449:, Today Art Museum, Beijing, December 10, 2016 (with Huang Du).
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Arte y Critica - Matar al padre: entrevista a Gerardo Mosquera
929:, New York: Center for Curatorial Studies, Bard College, 2006.
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1995, Advisory Council, Atlántica, Las Palmas de Gran Canaria
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Adiós Utopia. Dreams and Deceptions in Cuban Art Since 1950
1011:, Acta Universitatis Upsaliensis, Uppsala, 2004.p. 253–270
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Making Art Global (Part 1). The Third Havana Biennial 1989
1061:"Gerardo Mosquera nos enseña a mirar más allá en el arte"
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Fernando Sánchez Castillo. Hoy fue también un día soleado
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422:, Bronx Art Museum, March 27, 2019 to September 1, 2019.
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Over Here: International Perspectives on Art and Culture
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Guangzhou Image Triennial 2021: Rethinking Collectivity
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Gerardo Mosquera, “Seven Notes on the Museum-as-Hub”,
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Infinite Islands. Art, Culture, Internationalization
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Useless: Machines for Dreaming, Thinking and Seeing.
994:: "No desde cualquier lugar", in Gerardo Mosquera:
444:, Sala Alcalá 31, Madrid, 14 de septiembre de 2017.
408:, Guangdong Museum of Art, March 9 to May 29, 2021.
212:, art historian, and writer based in Havana, Cuba.
677:1998-2003, Prince Claus Awards Selection Committee
726:1989, Advisory Board, The House of Africa, Havana
656:Museo Universitario de Arte Contemporáneo (MUAC)
347:From 1995 to 2009 he was adjunct Curator at the
523:Manuel Álvarez Bravo. Un photographe aux aguets
809:Lucy Lippard: "Prólogo", in Gerardo Mosquera:
1184:¡Afuera! Arte en Espacios Publico | nexo5.com
707:1993–2000, Editorial Board, Poliester, Mexico
8:
998:, Exit Publicaciones, Madrid, 2010, p. 9–13.
800:, La Habana: Editorial Letras Cubanas, 1983.
359:, where he continued to live. Together with
288:Mosquera wearing Hélio Oiticica's parangolé
1059:López Pérez, Stephanie (30 November 2022).
927:Re-Shuffle / Notions of an Itinerant Museum
258:. Among other volumes, Mosquera has edited
50:Learn how and when to remove these messages
826:, Austin: University of Texas Press, 1994.
469:Museo de Arte Contemporáneo de Puerto Rico
215:He was one of the organizers of the first
907:John Simon Guggenheim Memorial Foundation
641:Learn how and when to remove this message
514:Artificial Amsterdam. The City as Artwork
508:Perduti nel Paesaggio / Lost in Landscape
173:Learn how and when to remove this message
155:Learn how and when to remove this message
719:International Association of Art Critics
702:International Association of Art Critics
654:2011, Academic Council for Programming,
478:, Santurce, San Juan, November 18, 2016.
464:Cristina Lucas. Iluminaciones profanadas
1160:CiudadMultipleCity. Arte>Panamá 2003
837:To and from Utopia in the New Cuban Art
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729:1989, Writers and Artists Union of Cuba
687:1996, Advisory Board ARCOLatino, Madrid
370:CiudadMultipleCity. Arte>Panamá 2003
871:, London: Afterall Books, 2011, p. 24.
839:, University of Minnesota Press, 2011.
763:, Caracas, Monte Ávila Editores, 1995.
441:Cristina Lucas. Manchas en el silencio
1173:Arte Contemporáneo en Patios de Quito
7:
858:Hatje Cantz Verlag, 2010, pp 88-103.
502:, Displaced Images / Images in Space
399:Hot Spot. Caring for a Burning World
798:Exploraciones en la plástica cubana
692:Rijksakademie van Beeldende Kunsten
395:, Fundación Cortés, San Juan, 2022.
378:Contemporary Art in Patios of Quito
226:Rijksakademie van beeldende kunsten
775:, Madrid, Exit Publicaciones, 2010
700:1994–1995 Administrative Council,
357:United States embargo against Cuba
14:
447:BRIC-à-brac. The Jumble of Growth
31:This article has multiple issues.
1228:Cuban people of Galician descent
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431:The Museum of Fine Arts, Houston
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318:El diseño se definió en Octubre
39:or discuss these issues on the
494:Sala de Arte Público Siqueiros
349:New Museum of Contemporary Art
222:New Museum of Contemporary Art
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710:1993-2013, Advisory Council,
661:2010, International Adviser,
559:biography of a living person
496:, Mexico City, June 7, 2016.
437:, Nov 11, 2017–Mar 18, 2018.
137:Knowledge's inclusion policy
940:"www.museumashub.org/about"
732:1986–1990, Advisory Board,
668:2009, Technical Committee,
579:must be removed immediately
520:, Amsterdam, June 28, 2013.
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70:This biographical article
332:Les magiciens de la terre
300:in History of Art at the
189:Mosquera by Wang Guofeng.
787:, 2014, Beijing, BeePub.
734:Editorial Letras Cubanas
374:The Sky Within My House
309:Servando Cabrera Moreno
573:Please help by adding
453:Vida. Gervasio Sánchez
296:Mosquera obtained his
293:
290:Da adversidade vivemos
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568:references or sources
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83:by revising it to be
393:Eyes that Have Sight
302:University of Havana
264:and co-edited (with
244:Neue Bildende Kunst
1223:People from Havana
1191:2014-10-31 at the
1148:2014-10-31 at the
1109:2014-04-08 at the
1046:2014-07-14 at the
1036:2014-07-14 at the
1007:Charlotte Bydler,
903:"Gerardo Mosquera"
739:2014-08-07 at the
680:1997, Consultant,
590:"Gerardo Mosquera"
557:This section of a
487:2017-09-24 at the
474:2017-07-16 at the
417:2020-01-14 at the
339:International work
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248:Oxford Art Journal
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1218:Cuban art critics
658:, UNAM, México DF
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458:CEART Fuenlabrada
435:Walker Art Center
384:(see all below).
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266:Jean Fisher
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748:References
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