1115:“Since 1992 Ballester has produced, on his own, images that reject the documentary style that dominated Cuban photographic ideologies after the Revolution. Drawing on such strategies as appropriation, collage, and manipulation; the use of the artist’s studio as symbolic space; the conversion of the artist’s body into a visual symbol; repudiation of the Cartier-Bresson ‘decisive moment;’ and the use of photographs as a record of performances, Ballester and other Cuban artists developed an alternative set of photographic practices. They rejected the view of ‘reality’ as modeled by compositional, expressive, and ideological clichés. Instead, they proposed an intimate vision that substitutes or deconstructs reality—a deliberate erosion stimulated, in part, by the social devaluation of graphic journalism and press photography in Cuba, which were supplanted by the repetitive use of stock photos and stereotypical images (…) Ballester does not undertake a critique of modernity and its foundations of unity and originality, but instead deconstructs the social rites behind the images. His intention is to rupture the opacity of historical narratives that take photography as proof of verisimilitude and as a product for social consumption (…) But if Sherman exposed the construct of ‘the feminine’ in mass media, the frozen performance of the Cuban artist pointed to the re-appropriation of an historical event, which we could only see through the mediation of images broadcast by the mass media. The sacrifice of the anonymous fighter has been submitted to the violence of the spectacle, a component of any contemporary historical discourse that aspires to legitimate its myths and its forgetfulness”
1099:"Homage to Hans Haacke’... was announced as an ideological operation worthy of Haacke. The extreme critical acuity towards institutions and representation – cynical, burlesque, terrible – of not a few inconsistencies between art and status, between art and merchandise, between art and politics; It seemed to be more than what the aforementioned institutions could allow. The tribute to Haacke – what a paradox, precisely to him! - never got to opened. The pieces resorted to parody effects, especially promotional manipulation was parodied. The important thing was to accuse the institutional mechanism (commercial or political) that corrupted the semantic nature of the work (…) Even though it has not was opened, Homage to Hans Haacke is one of the key exhibitions of the 1980s in Cuba; and not precisely for the reasons that determined its cancellation. Whoever likes it, the Cuban visual art from 90’s will have it as a paradigm”
1131:"If the operational complexity, the perverse investment and the resentization of the desire for all procedural transversality required representation as a discipline strictly associated with a media economy, this image would undoubtedly be its image: the image. As an inverted re-reading of the topics of an identity of welcome and, therefore, not its own, staged in the most representative of the landscape and pictorial fullness of the late nineteenth century, deliberately adjusted to the delusions and mechanisms of the construction of the contemporary story, and clearly tricky in the figurative materialization of sexualizable fantasies, unattainable desires and adolescent dreams, the powerful fictional device that the artist sets in motion connects, in addition, previous stages of his I work with budding operational prospects. Nowhere, everywhere"
192:“Ballester's photographs taken in the 90s have been developed together with his subject (from the first one that refers to the insularity of Cuba and its social situation until its representation of the contingent subject) while at the same time exploring different crossroads, such as the condition of exile and sexual identity; crossroads between the public and the private, between the subject subject and the social self. The experiences reflected in his photographs refer to complex formulations that mix the physical, the biographical and the intimate but placing special emphasis on the sexed nature of all actions and on the consideration that even the most private aspect has a political or ideological interpretation"
179:, Ballester experienced the difficult experience of emigration and the need for integration, at the same time that he came into contact with the exotic tropical that surrounds the Spanish and European vision of his birthplace. During these years Ballester began working on a series of photographs documenting an ephemeral performance event about his identity, for which he used strategies such as appropriation, collage, manipulation and the use of the artist's body as a visual symbol. In his approach to photography Ballester does not undertake a critique of modernity and its foundations of unity and originality, but rather deconstructs the social rites behind the images, he distances himself from
20:
255:“The result of this display of variety is a rhetorical stress on the role of photography in the taxonomic evaluation of a given territory and its people. Ballester is not attempting to engage the sympathies of viewers toward his band of outsiders – he addresses the question of inclusion at another level, in a far more analytic manner. His work speaks from an outsider’s point of view, but does not cry out 'see me', but rather, 'see yourselves and what you look for.”
1086:
country without having to go through the strict common control mechanisms. The change in the
Ministry of Culture made it possible for many young critical artists to leave the country and many, disappointed with the new environment of censorship and the imminence of a great economic crisis that the government would call "Período especial" (Special Period), took advantage of the opening to exile themselves.
1426:
139:
In his formative years, Juan Pablo
Ballester trained within the ironic tactics to dismantle the official representations of national identity that the so-called Renaissance of the visual arts used to redefine the parameters of "revolutionary" art in Havana in the late 1980s. During his student years
1085:
at the
Castillo de la Fuerza Project. Despite this internal atmosphere of censorship and prohibitions, the Ministry of Culture changed its international promotion policy for the visual arts, the change would allow any artist with a letter of invitation to carry out a project abroad could leave the
250:
In these photographs
Ballester addresses topics such as the (re) construction of identity, the temptation of the ethnographic, fictionalizations and historical patrimonializations, the invention of traditions, the resemantization and idealization of the common imaginary, or the exoticization and
251:
exoticism, it configures a framework of thought that clearly makes it impossible to read an image as a simple retinal effect alone. His photographic series are great fictional devices that do not demand a viewer as an author but a viewer as a producer of meaning.
246:
painting but using techniques that are common to many neo-objectivist photographers: long shots and centered camera positions, geometric composition, occasional subjects, as well as the symbolic load of the spaces chosen to transmit multiple layers of meaning.
237:
as fundamental to the visual definition of national identity that is supported by a variety of photographic genres, from advertising to postcards of monuments and snapshots of tourists. Ballester also used casting models from advertising agencies dressed as
205:
encouraged from within government structures to differentiate itself from the
Spanish state and the European context in which it finds itself submerged. Two large series of works are due to this time under the name
79:
who works mainly with photography and video art, although he has also worked with installations and performance art. He has also developed activities as a curator, assistant curator and cultural manager.
1247:
1005:
115:(Cuba: The Possible Island), the first multidisciplinary event that brought together Cuban artists, writers and intellectuals from the island and exile to debate the future of Cuban Culture,
905:(Cuba: The Possible Island). First multidisciplinary event that brought together Cuban artists, writers and intellectuals from the island and exile to debate the future of Cuban Culture,
1371:
887:(Image mirrors. A history of portraiture in Spain, 1900–2000). Exhibition curated by Manuel García for Explorafoto 2001. II Photography Festival in Salamanca, San Eloy Exhibition Hall,
1331:
906:
116:
172:), an exhibition that despite having been censored by the Cuban authorities hours before its opening, still circulates among the island's artists as a legend.
723:
505:
1101:. Sánchez, Osvaldo (1990). "Acciones de Toirac—Tanya y Ballester—Villazón" (in Spanish, German). Supplement to the catalog Kuba o.k. Düsseldorf: Städtische
1477:
201:, where his experience of emigration would intensify when he was confronted with a society engaged in the search, construction and reaffirmation of an
1290:
790:
1328:
Nueva tecnología, nueva iconografía, nueva fotografía. Fotografía de los años 80 y 90 en la
Colección del Museo Nacional Centro de Arte Reina Sofía
502:
Nueva tecnología, nueva iconografía, nueva fotografía. Fotografía de los años 80 y 90 en la
Colección del Museo Nacional Centro de Arte Reina Sofía
331:
1284:
804:
777:
1457:
1311:
1234:
1219:
1077:. During this period of ideological and economic crisis several artistic projects were censored in Cuba between 1988 and 1989, including the
736:
1447:
19:
1202:
1183:
949:
918:
856:
517:
1260:
1159:
988:
1244:
Transgenéric @ s. Representaciones y experiencias sobre los géneros, la sociedad y la sexualidad en el arte español contemporáneo
1462:
1007:
Transgenéric@s. Representaciones y experiencias sobre los géneros, la sociedad y la sexualidad en el arte español contemporáneo
849:
983:. Spain: Fitzroy Dearbora Publishers, 2001; Routledge Taylor Francis & Group London and New York, 2015. p. 1839.
759:
673:
625:
613:
441:
1345:
1117:. Mena Chicuri, Abelardo. "About Juan Pablo Ballester", The Farber Collection. Cuba Avant-Garde Contemporary Cuban Art
944:(in Spanish and English). Spain: Centre de Cultura Contemporània de Barcelona Ed. CCCB-Destino S.A. 1995. p. 272.
187:" to break the opacity of the historical narratives that take photography as proof of plausibility and social product.
1165:
379:
141:
84:
1246:; Koldo Mitxelena Kulturunea (Diputación Foral de Gipuskoa, K. M. 1998); ASIN: B0026DXMGI (in Spanish)
1206:
870:
1102:
657:
590:
Transgenéric @ s. Representations and
Experiences on Genres, Society and Sexuality in Contemporary Spanish Art
549:
1452:
1404:
1296:
242:(local police) as a fashion report in landscape settings – idyllic and idealized – prototypical of Catalan
1472:
1321:
824:
Conceptualization, content development, assistant curator and coordinator of the exhibition and art book
1073:
could not continue to fulfill its economic commitments to Cuba as a result of its reform process called
1189:
939:
1467:
641:
239:
1274:
exhibition brochure), Museo
Andaluz de Arte Contemporáneo (CAAC), Seville, Spain (1992) (in Spanish)
1210:
Jose Veigas-Zamora, Cristina Vives
Gutierrez, Adolfo V. Nodal, Valia Garzon, Dannys Montes de Oca;
545:
533:
226:
1357:
1308:
1118:
878:
1256:
1230:
1215:
1198:
1179:
1155:
1062:
1011:
984:
945:
914:
852:
845:
689:
637:
513:
362:, Collateral exhibition to the IV Bienal de La Habana, Casa del Joven Creador,
202:
1384:
1050:
1010:(in Spanish). Spain: Koldo Mitxelena Kulturunea (Diputación Foral de Gipuskoa, K. M. 1998).
593:
215:
894:
Art selector and coordinator of La Marató de L´espectacle Video Show, Mercat de les Flors,
225:, Ballester carefully examined the institutional and aesthetic means by which a monolithic
1315:
1169:
965:
750:
677:
617:
577:
561:
477:
184:
180:
1377:
229:
is communicated. In these works, Ballester reveals the iconography of internal, external
278:(2005), Museo Pablo Serrano. Instituto Aragones de Arte y Cultura Contemporáneo (IACC),
1411:
866:
829:
767:
633:
541:
449:
291:
1441:
700:
661:
605:
537:
521:
497:
978:
1070:
529:
1431:
1074:
243:
64:
1398:
1129:
Catalan art critic and curator Manel Clot on the work of Juan Pablo Ballester:
1421:
1394:
1302:
1178:, Centre de Cultura Contemporània de Barcelona; (Ed. CCCB-Destino S.A. 1995);
1095:
1078:
763:
629:
445:
395:
375:
359:
257:
169:
161:
96:
910:
895:
888:
874:
837:
714:
645:
565:
422:(1986), with Ileana Villazón, Galería de la Escuela Nacional de Arte (ENA),
319:
222:
198:
120:
1163:
490:
Killing Time: An Exhibition of Cuban Artist from the 1980’s to the Present
190:
For Spanish critics and curators Juan Vicente Aliága and Mar Villaespesa,
1053:
was going through an ideological crisis that led to a process of reforms
740:
493:
307:
279:
230:
1351:
1031:
A View from Outside the Frame (Text for the Enlloc exhibition brochure)
1015:
798:
335:
234:
1033:(in Spanish). Spain: Museo Andaluz de Arte Contemporáneo (2002) Spain.
127:. He was a recipient of Cintas Fellow 1998–99. Since 2011 he lives in
1415:
841:
833:
808:
794:
785:
727:
612:. Selection from the Permanent Contemporary Cuban Collection (1997),
581:
509:
481:
423:
411:
399:
383:
363:
347:
295:
176:
145:
88:
76:
885:
Espejos de la imagen. Una historia del retrato en España, 1900–2000
781:
771:
754:
744:
731:
718:
707:
693:
649:
597:
585:
569:
553:
485:
469:
461:
453:
351:
339:
323:
311:
299:
283:
271:
128:
124:
108:
104:
18:
1066:
1061:(Rectification of Errors and Negative Trends Campaign). In 1989
812:
684:
427:
415:
403:
387:
367:
356:¡Juntos y Adelante!. Arte, Política y Voluntad de Representación
100:
92:
72:
68:
865:(Kurosawa Year 2010). A celebration for the birth centenary of
111:. In 1995 he co-organized the event and curated the exhibition
1174:
Juan Pablo Ballester, María Elena Escalona, Iván de la Nuez;
938:
Juan Pablo Ballester, María Elena Escalona, Iván de la Nuez.
392:"Nosotros': Exposición Antológica de la Obra de Raúl Martínez
158:"We": An Anthological Exhibition of the Work of Raúl Martínez
154:"Nosotros": Exposición Antológica de la obra de Raúl Martínez
23:
Juan Pablo Ballester. S. T. (En ningún lugar) (Nowhere), 2002
1253:
Inter/Zona. Arts Visuals i Creació Contemporània a Barcelona
879:
https://static.casaasia.es/pdf/3221050658PM1269274018766.pdf
558:
Inter/Zona. Arts Visuals i Creació Contemporània a Barcelona
1348:
site, Vitoria-Gasteiz, Spain (in English, Spanish, Euskera)
1154:; (University of Texas Press 1994, Revised edition 2003);
901:
Co-organizer, event coordinator and exhibition curator of
476:(2011), ARTIUM. Centro Museo Vasco de Arte Contemporáneo,
828:(The glance of the samurai: Akira Kurosawa's drawings),
683:
The Metropolitan Bank and Trust Photography Collection,
574:
Ofelias y Ulises. En torno al arte español contemporáneo
1255:; Palau de la Virreina; (Diputació de Barcelona 2001);
966:
https://cintasfoundation.org/component/tags/tag/1998-99
548:) (2002), Espai d´Art Contemporani de Castelló (EACC),
1408:(The glance of the samurai: Akira Kurosawa's drawings)
1137:, Suite Magazine, no 24, March 2004 (Barcelona), p. 38
152:(He Who Imitates Fails), 1988 (with Ileana Villazón);
1374:
site, Barcelona, Spain (in English, Spanish, Catalán)
1354:
site, Barcelona, Spain (in English, Spanish, Catalán)
1406:
La mirada del samurái: los dibujos de Akira Kurosawa
826:
La mirada del samurái: los dibujos de Akira Kurosawa
1268:
Juan Pablo Ballester. A View from Outside the Frame
1214:; (California/International Arts Foundation 2001);
148:, he developed well-known projects among which are
36:
29:
749:ARTIUM. Centro Museo Vasco de Arte Contemporáneo,
1332:Museo Nacional Centro de Arte Reina Sofía (MNCAR)
1322:Museo Nacional Centro de Arte Reina Sofía (MNCAR)
398:, Centro Provincial de Artes Plásticas y Diseño,
1346:ARTIUM. Centro Museo Vasco de Arte Contemporáneo
83:Juan Pablo Ballester graduated in 1990 from the
1059:Rectificación de errores y tendencias negativas
1383:Juan Pablo Ballester video art distributed by
592:(1998), Koldo Mitxelena Kulturunea,
526:Fallen Heroes. Masculinity and Representation
512:; Museu d’ Art Espanyol Contemporani (MAEC),
8:
1360:site, Barcelona, Spain (in Spanish, Catalán)
1227:Memoria: Artes Visuales Cubanas Del Siglo Xx
907:Centre de Cultura Contemporània de Barcelona
117:Centre de Cultura Contemporània de Barcelona
869:in Spain organized by Casa Asia Barcelona,
980:Censorship. A World Encyclopedy Volume 1—4
26:
724:Museo Nacional Centro de Arte Reina Sofía
580:, Pavilion in the Old Barns of Giudecca,
506:Museo Nacional Centro de Arte Reina Sofía
410:(1988), with Ileana Villazón, Galería L,
1229:; (California International Arts 2004);
840:. Centro de Arte, Dibujo e ilustración,
218:word that can be translated as Nowhere.
1042:
930:
668:Selected Public and Private Collections
622:Cuba Siglo XX. Modernidad y Sincretismo
460:(2017), Centro Cultural Español (CCE),
95:, and was member of the artistic group
1242:Juan Vicente Aliága, Mar Villaespesa;
1212:Memoria: Cuban Art of the 20th Century
1004:Juan Vicente Aliága, Mar Villaespesa.
883:Coordinator and design consultant for
805:National Museum of Fine Arts of Havana
306:(2004) Galería Tomás March,
791:Ludwig Forum für Internationale Kunst
7:
602:Cuba On. 11 Conceptual Photographers
332:Centro Andaluz de Arte Contemporáneo
168:(Homage to Hans Haacke), 1989 (with
1387:site (in English, Spanish, Catalán)
318:(2003) Galería Antonio de Barnola,
99:from 1988 to 1991. In 1992 he left
604:(1998), Generous Miracle Gallery,
14:
1478:Instituto Superior de Arte alumni
891:, 2001. Legal deposit: S-783-2002
778:Fonds National d’Art Contemporain
676:. Contemporary Cuban Collection,
1424:
1135:Juan Pablo Ballester ST (Enlloc)
140:in the Fine Arts Faculty of the
1303:El Cultural. El Mundo Newspaper
518:Museo de Arte Abstracto Español
346:(1998), Galería Marta Cervera,
1358:Fondo Centro de Arte La Panera
1055:"against corruption and crime"
737:Institut Valencià d'Art Modern
468:(2014), Dot Fiftyone Gallery,
1:
1385:HAMACA. Moving Image Plafform
760:Atlantic Center of Modern Art
674:Museum of Art Fort Lauderdale
626:Atlantic Center of Modern Art
614:Museum of Art Fort Lauderdale
442:Atlantic Center of Modern Art
63:(born September 16, 1966, in
1458:Spanish contemporary artists
1195:Art Cuba. The New Generation
706:Arturo Mosquera Collection,
290:(2004), Galería La Fábrica,
1393:(1997), a performance with
1197:; (Harry N. Abrams, 2001);
466:Reverse: Rewrinting Culture
210:(Based on real events) and
1494:
1448:Cuban contemporary artists
699:Howard Farber Collection,
658:Kunsthalle Düsseldorf
480:; Centre d’Art la Panera,
433:Selected group exhibitions
380:Castillo de la Real Fuerza
142:Instituto Superior de Arte
85:Instituto Superior de Arte
1397:and María Elena Escalona
1352:Fundación Foto Colectania
873:(UB) y Cultural Affairs,
270:(2013), Farside Gallery,
263:Selected solo exhibitions
1081:(ABTV Group) exhibition
871:Universitat de Barcelona
656:(1990), Städtische
544:, Juan Pablo Ballester,
1338:Medianoche en la ciudad
713:Juan Redón Collection,
474:Medianoche en la ciudad
344:Basado en hechos reales
208:Basado en hechos reales
166:Homenaje to Hans Haacke
1463:Artists from Catalonia
1372:Diputació de Barcelona
964:Cintas Fellow 1998-99
903:Cuba: La isla posible
636:; Fundación La Caixa,
372:Homenaje a Hans Haacke
175:In his first years in
24:
1309:The Farber Collection
1176:Cuba: La Isla Posible
1103:Kunsthalle Düsseldorf
1083:Homage to Hans Haacke
1049:In the mid-1980s the
941:Cuba: La Isla Posible
550:Castellón de la Plana
113:Cuba: La Isla Posible
22:
1418:, Spain (in Spanish)
1342:Midnight in the city
534:Gilbert & George
408:El que imita fracasa
221:During his years in
197:In 1994 he moved to
150:El que imita fracasa
61:Juan Pablo Ballester
31:Juan Pablo Ballester
1378:Photography-now.com
546:Del Lagrace Volcano
420:Pinturas abstractas
227:Catalan nationalism
1391:Sudaca Enterprises
1314:2020-06-23 at the
1168:2020-06-29 at the
1057:that Fidel called
47:September 16, 1966
25:
1380:site (in Spanish)
1334:site (in English)
1324:site (in Spanish)
1318:site (in English)
1305:site (in Spanish)
1299:site (in English)
1297:Artforum Magazine
1293:site (in Spanish)
1287:site (in English)
1285:Knight Foundation
1235:978-0-917571-12-1
1220:978-0-917571-11-4
1063:Mikhail Gorbachev
863:Año Kurosawa 2010
690:Cintas Foundation
642:Arts Santa Mònica
638:Palma de Mallorca
610:Breaking Barriers
514:Palma de Mallorca
240:Mossos d'Esquadra
203:National identity
58:
57:
1485:
1434:
1429:
1428:
1427:
1364:Arte en tránsito
1239:
1188:
1150:Luis Camnitzer;
1138:
1127:
1121:
1112:
1106:
1093:
1087:
1051:Cuban Revolution
1047:
1035:
1034:
1026:
1020:
1019:
1001:
995:
994:
974:
968:
962:
956:
955:
935:
819:Other activities
216:Catalan language
50:
46:
44:
27:
1493:
1492:
1488:
1487:
1486:
1484:
1483:
1482:
1438:
1437:
1430:
1425:
1423:
1399:Coco Fusco site
1316:Wayback Machine
1281:
1237:
1186:
1170:Wayback Machine
1152:New Art of Cuba
1147:
1142:
1141:
1128:
1124:
1113:
1109:
1094:
1090:
1069:to report that
1048:
1044:
1039:
1038:
1028:
1027:
1023:
1003:
1002:
998:
991:
976:
975:
971:
963:
959:
952:
937:
936:
932:
927:
861:Coordinator of
821:
751:Vitoria-Gasteiz
678:Fort Lauderdale
670:
618:Fort Lauderdale
578:Venice Biennale
562:Virreina Palace
478:Vitoria-Gasteiz
435:
328:En ningún lugar
265:
185:decisive moment
181:Cartier-Bresson
137:
54:
51:
48:
42:
40:
32:
17:
12:
11:
5:
1491:
1489:
1481:
1480:
1475:
1470:
1465:
1460:
1455:
1453:Cuban painters
1450:
1440:
1439:
1436:
1435:
1420:
1419:
1412:Azkuna Zentroa
1402:
1388:
1381:
1375:
1368:Art in transit
1361:
1355:
1349:
1335:
1325:
1319:
1306:
1300:
1294:
1291:Cuban Art News
1288:
1280:
1279:External links
1277:
1276:
1275:
1270:(Text for the
1264:
1249:
1240:
1223:
1208:
1203:978-0810957336
1191:
1184:978-8423325290
1172:
1146:
1143:
1140:
1139:
1133:. Manel Clot,
1122:
1107:
1088:
1041:
1040:
1037:
1036:
1021:
996:
989:
977:Jones, Derek.
969:
957:
951:978-8423325290
950:
929:
928:
926:
923:
922:
921:
919:978-8423325290
899:
892:
881:
867:Akira Kurosawa
859:
857:978-8492441396
830:Azkuna Zentroa
820:
817:
816:
815:
802:
788:
775:
768:Canary Islands
757:
747:
734:
721:
711:
704:
697:
687:
681:
669:
666:
634:Canary Islands
542:Mark Morrisroe
536:, Peter Land,
450:Canary Islands
434:
431:
264:
261:
160:), 1989 (with
136:
133:
103:and went into
56:
55:
53:Camagüey, Cuba
52:
38:
34:
33:
30:
15:
13:
10:
9:
6:
4:
3:
2:
1490:
1479:
1476:
1474:
1473:Living people
1471:
1469:
1466:
1464:
1461:
1459:
1456:
1454:
1451:
1449:
1446:
1445:
1443:
1433:
1422:
1417:
1413:
1409:
1407:
1403:
1400:
1396:
1392:
1389:
1386:
1382:
1379:
1376:
1373:
1369:
1365:
1362:
1359:
1356:
1353:
1350:
1347:
1343:
1339:
1336:
1333:
1329:
1326:
1323:
1320:
1317:
1313:
1310:
1307:
1304:
1301:
1298:
1295:
1292:
1289:
1286:
1283:
1282:
1278:
1273:
1269:
1265:
1262:
1261:84-8156-278-5
1258:
1254:
1250:
1248:
1245:
1241:
1236:
1232:
1228:
1225:Jose Viegas;
1224:
1221:
1217:
1213:
1209:
1207:
1205:(in English)
1204:
1200:
1196:
1193:Holly Block;
1192:
1190:
1185:
1181:
1177:
1173:
1171:
1167:
1164:
1162:(in English)
1161:
1160:0-292-70517-4
1157:
1153:
1149:
1148:
1144:
1136:
1132:
1126:
1123:
1119:
1116:
1111:
1108:
1104:
1100:
1097:
1092:
1089:
1084:
1080:
1076:
1072:
1068:
1064:
1060:
1056:
1052:
1046:
1043:
1032:
1029:Fusco, Coco.
1025:
1022:
1017:
1013:
1009:
1008:
1000:
997:
992:
990:9780203827055
986:
982:
981:
973:
970:
967:
961:
958:
953:
947:
943:
942:
934:
931:
924:
920:
916:
912:
908:
904:
900:
897:
893:
890:
886:
882:
880:
876:
872:
868:
864:
860:
858:
854:
851:
847:
843:
839:
835:
831:
827:
823:
822:
818:
814:
810:
806:
803:
800:
796:
792:
789:
787:
783:
779:
776:
773:
769:
765:
761:
758:
756:
752:
748:
746:
742:
738:
735:
733:
729:
725:
722:
720:
716:
712:
709:
705:
702:
701:New York City
698:
695:
691:
688:
686:
682:
679:
675:
672:
671:
667:
665:
663:
659:
655:
651:
647:
643:
639:
635:
631:
627:
623:
619:
615:
611:
607:
606:New York City
603:
599:
595:
594:San Sebastián
591:
587:
583:
579:
576:(2001), 49th
575:
571:
567:
563:
559:
555:
551:
547:
543:
539:
538:Paul McCarthy
535:
531:
527:
523:
522:Cuenca, Spain
519:
515:
511:
507:
503:
499:
498:New York City
495:
491:
487:
483:
479:
475:
471:
467:
463:
459:
455:
451:
447:
443:
439:
432:
430:
429:
425:
421:
417:
413:
409:
405:
401:
397:
394:(1989), with
393:
389:
385:
381:
377:
374:(1989), with
373:
369:
365:
361:
358:(1991), with
357:
353:
349:
345:
341:
337:
333:
329:
325:
321:
317:
313:
309:
305:
301:
297:
293:
289:
285:
281:
277:
273:
269:
262:
260:
259:
256:
252:
248:
245:
241:
236:
232:
228:
224:
219:
217:
213:
209:
204:
200:
195:
193:
188:
186:
182:
178:
173:
171:
167:
163:
159:
155:
151:
147:
143:
134:
132:
130:
126:
122:
118:
114:
110:
106:
102:
98:
94:
90:
86:
81:
78:
74:
70:
66:
62:
49:(age 58)
39:
35:
28:
21:
16:Cuban painter
1405:
1401:(in English)
1390:
1367:
1363:
1341:
1337:
1327:
1271:
1267:
1266:Coco Fusco;
1263:(in Spanish)
1252:
1251:Manel Clot;
1243:
1238:(in Spanish)
1226:
1222:(in English)
1211:
1194:
1187:(in Spanish)
1175:
1151:
1134:
1130:
1125:
1114:
1110:
1098:
1091:
1082:
1071:Soviet Union
1058:
1054:
1045:
1030:
1024:
1006:
999:
979:
972:
960:
940:
933:
902:
884:
862:
825:
692:Collection,
653:
621:
609:
601:
589:
573:
557:
530:John Coplans
525:
501:
489:
473:
465:
457:
437:
436:
419:
407:
391:
371:
355:
343:
327:
315:
303:
287:
275:
267:
266:
254:
253:
249:
220:
211:
207:
196:
191:
189:
174:
165:
157:
153:
149:
138:
112:
82:
60:
59:
1468:1966 births
1432:Cuba portal
1075:Perestroika
898:, 1996–2003
458:Goaltending
438:In dialogue
292:PHotoEspaña
244:Noucentisme
1442:Categories
1395:Coco Fusco
1145:References
1096:Grupo ABTV
1079:Grupo ABTV
1016:B0026DXMGI
850:8492441399
764:Las Palmas
664:, Germany
662:Düsseldorf
630:Las Palmas
446:Las Palmas
396:Grupo ABTV
376:Grupo ABTV
360:Grupo ABTV
258:Coco Fusco
170:Grupo ABTV
162:Grupo ABTV
97:Grupo ABTV
43:1966-09-16
1410:, (2010)
1370:) (2016)
1344:) (2011)
911:Barcelona
896:Barcelona
889:Salamanca
875:Barcelona
838:Museo ABC
726:(MNCAR),
715:Barcelona
654:Kuba O.K.
646:Barcelona
566:Barcelona
508:(MNCAR),
320:Barcelona
223:Barcelona
199:Barcelona
121:Barcelona
87:(ISA) in
1312:Archived
1166:Archived
1065:visited
913:, 1995.
909:(CCCB),
877:, 2010.
844:, 2011.
836:, 2010;
762:(CAAM),
741:Valencia
739:(IVAM),
628:(CAAM),
624:(1996),
560:(2001),
504:(2004),
494:Exit Art
492:(2007),
444:(CAAM),
440:(2020),
334:(CAAC),
330:(2002),
308:Valencia
280:Zaragoza
235:Xarnegos
231:Catalans
119:(CCCB),
65:Camagüey
1330:(2004)
799:Germany
660:,
336:Seville
268:NoWhere
164:), and
71:) is a
1416:Bilbao
1272:Enlloc
1259:
1233:
1218:
1201:
1182:
1158:
1014:
987:
948:
917:
855:
848:
842:Madrid
834:Bilbao
809:Havana
795:Aachen
786:France
728:Madrid
620:, FL;
608:, NY;
582:Venice
510:Madrid
500:, NY;
482:Lleida
472:, FL;
464:, FL;
424:Havana
412:Havana
400:Havana
384:Havana
364:Havana
348:Madrid
316:Enlloc
304:Enlloc
296:Madrid
294:2004,
288:Enlloc
276:Enlloc
274:, FL;
212:Enlloc
177:Madrid
146:Havana
135:Career
89:Havana
77:artist
75:-born
925:Notes
782:Paris
772:Spain
755:Spain
745:Spain
732:Spain
719:Spain
708:Miami
694:Miami
650:Spain
598:Spain
586:Italy
570:Spain
554:Spain
486:Spain
470:Miami
462:Miami
454:Spain
352:Spain
340:Spain
324:Spain
312:Spain
300:Spain
284:Spain
272:Miami
129:Miami
125:Spain
109:Spain
105:exile
73:Cuban
1257:ISBN
1231:ISBN
1216:ISBN
1199:ISBN
1180:ISBN
1156:ISBN
1067:Cuba
1012:ASIN
985:ISBN
946:ISBN
915:ISBN
853:ISBN
846:ISBN
813:Cuba
710:, FL
703:, NY
696:, FL
685:Ohio
680:, FL
428:Cuba
416:Cuba
404:Cuba
388:Cuba
368:Cuba
233:and
214:, a
183:'s "
101:Cuba
93:Cuba
69:Cuba
37:Born
600:;
390:;
326:;
322:,
144:in
107:in
1444::
1414:,
832:,
811:,
807:,
797:,
793:,
784:,
780:,
770:,
766:,
753:,
743:,
730:,
717:,
652:;
648:,
644:,
640:;
632:,
616:,
596:,
588:;
584:,
572:;
568:,
564:,
556:;
552:,
540:,
532:,
524:;
520:,
516:;
496:,
488:;
484:,
456:;
452:,
448:,
426:,
418:;
414:,
406:;
402:,
386:,
382:,
378:,
370:;
366:,
354:;
350:,
342:;
338:,
314:;
310:,
302:;
298:,
286:;
282:,
194:.
131:.
123:,
91:,
67:,
45:)
1366:(
1340:(
1120:.
1105:.
1018:.
993:.
954:.
801:,
774:.
528:(
156:(
41:(
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
