PAST EXHIBITIONS
Ronald Morán: Immaterial Dialogues
Curated by Aluna Curatorial Collective at CCEMiami
This series has been inspired by Japanese architect, Tadao Ando (n.1941). The architect affirms “to change the dwelling is to change the city and to reform society” which is related on how Moran uses the stairs and mazes to cause perception thresholds and social transformation. Moran uses photos of architectural spaces done by Tadao Ando and covers then with translucent sheets (…)
Neither Barbarism nor Civilization: Cultures in Dialogue
A project by the General Consulate and Center for the Promotion of the Argentinian Republic in Miami, curated by Aluna Curatorial Collective.
With Marta Estrem, Verónica Fazzio, Daniel Fiorda, Liliana Gerardi, Marcela Marcuzzi, Verónica Murphy, Claudio Roncoli, Pablo Soria, and Valeria Yamamoto, as well as works by invited artists Karina Chechick, Pancho Luna y Sergio Vega.
The Prodigious Decade: A Selection of Artworks by Cuban Artists from the 80’s Generation
Curated by Aluna Curatorial Collective and Sebastian Laboureau
The exhibit shows this generation of Cuban artists who emerged through a series of ruptures that led to the emergence of New Cuban Art as Luis Camnitzer coined in his reference eponymous book. At the same time, the exhibit will give its audience an idea of how vigorous (…)
The Object And The Image (This is not a Chair Either)
Curated by Aluna Curatorial Collective (Adriana Herrera and Willy Castellanos), the exhibition will feature invited artist Chema Madoz, and will recover historic works by Hexágono: Equipo de Creación Colectiva (Havana, 1982-1985), integrated by Consuelo Castañeda, Humberto Castro, Sebastián Elizondo, Abigail García, María Elena Morera and Tonel. The exhibition will give place to a prompt dialog between local artists from different nationalities, and will feature works from (…)
The Global South: Visions and Revisions from The Brillembourg Capriles Collection
Curated by Adriana Herrera and Adolfo Wilson
Could a linear construction of history, and thus of the history of art, be sufficient in such a complex and contradictory geographic area as Latin America, where, as stated by Alejo Carpentier, the past and the present coexist? This question, posed from the Brillembourg Capriles Collection—mostly (…)
