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Cuban Art

Kadir Lopez Nieves

kadirlopez.com

Altima’s profile spotlight this Fall is on internationally distin-guished Cuban artist, Kadir López Nieves. Kadir was introduced to Palm Beach during the 2009 Whitney Art Stroll and subsequently invited by prominent art collectors Jim Pappas and Carlos Morrison to participate in the Palm Beach Art Fair 2010 and 2011.

 

In 2012, Palm Beach Photographic Centre Direc-tor, Fatima Nejame and Board Member Tommy Morrison visit-ed Kadir’s atelier in Havana. Kadir was invited to become the Palm Beach Photographic Centre’s first Artist in Residence. Kadir will participate in the teaching activities of the Centre and present a series of new installations through mid-November. The artist unveiled ‘The Conflux of Eternities’, which represents several new installations showcasing the historical connection between America and Cuba, particularly Cuba’s acquisition of the architectural drawings of the U.S. Capitol building in Washington, as depicted in his first Rubik’s Cube sculpture. A little known fact: Havana’s Capitol, which was completed in 1929, is an exact rep-lica of the American Capitol in Washington except the Cuban government built their Capitol one foot larger in height, width and depth. Remarkably, the Cuban people loved their capi-tol so much they replicated it in Santiago. It should be noted that as the United States was struggling during the Great Depression, Cuba was building these two magnificent buildings.

Kadir has exhibited his work consistently since 1990 in over ninety solo and group shows in North and South America, Europe, China, and the Caribbean. In addition to creating art, Kadir has lectured at confer-ences at Universities and Museums worldwide, and has served as a juror at a number of national art contests in his country. Kadir’s art-work is included in distinguished private collections such as: The Donald Rubin Collection, Collection Art Nexus, The Richard Guggen-heim

 

 

 

 

Rafael Domenech
rafaeldomenech.com
​Domenech began painting when he was 15 years old at the elementary workshop Manero, in Havana City. The ghostly, gray, urban streets of the city served as infinite canvas for an adolescent Rafael who recorded his artistic visions on the walls of public buildings. His earlier works reflect the backdrop of his adolescence,-- wall etchings, wire fences, and traces of revolutionary propaganda among the cityscapes-- bringing our attention to the deterioration of the Cuban infrastructure and neglect of its architectural legacy.

Rafael moved to the United States last year at the age of 21. Works from his ‘Middle Ground series explores Rafael’s present transition between his two worlds. He continues to build on the memories from the Havana streets, while experiencing his new American Surroundings. His current paintings reflect his new urban environment—the signs, the graffiti and even the scratches on the walls are included. Influenced by the graffiti artists of the 80’s, Rafael aims to create a dialogue which focuses on the grittiness and noise of urbanism created by man.

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