Flavio Garciandía: Lo mejor y lo peor

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Open: Tue-Fri 11am-6.30pm, Sat 11am-5pm

Rämistrasse 37, CH-8001 Zürich, Zürich, Switzerland
Open: Tue-Fri 11am-6.30pm, Sat 11am-5pm


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Flavio Garciandía: Lo mejor y lo peor

Zürich

Flavio Garciandía: Lo mejor y lo peor
to Sat 28 May 2022
Tue-Fri 11am-6.30pm, Sat 11am-5pm

Mai 36 Galerie presents new paintings by Flavio Garciandía (*1954 in Caibarién, Cuba) for his fourth exhibition at the gallery. Garciandía is known as one of the most prolific, versatile and influential figures of contemporary Cuban art.

Artworks

Finalmente se desata la lujuria y el caos durante la hoy recordada como noche de las pingas locas, 2020

Acrylic on canvas
Image 123 x 83 x 2 cm (48 3/8 x 32 5/8 x 3/4 in.)
Signed and dated verso

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Vladimir Ilich Lenin, durante su polemica estancia en Zurich,es conminado por la policia a abandonar un parque tras perseguirafanosamente a un cisne con equivocas intenciones, 2020 Image 195 x 121 x 4 cm (76 3/4 x 47 5/8 x 1 5/8 in.)

Acrylic on canvas
Image 195 x 121 x 4 cm (76 3/4 x 47 5/8 x 1 5/8 in.)
Signed and dated verso

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El cielo es testigo o no?, 2020

Acrylic on canvas
Image 83 x 77 x 3 cm (32 5/8 x 30 1/4 x 1 1/8 in.)
Signed and dated verso

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Sexo y depravacion del cisne playero, 2020

Acrylic on canvas
Image 122 x 87 x 3 cm (48 1/8 x 34 1/4 x 1 1/8 in.)
Signed and dated verso

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Todos estos sucesos conrman la sospecha aairede de que el Leda con el cisne, no fue un mito, sino una noticia caliente de verano, 2020

Acrylic on canvas
Image 188 x 188 x 4 cm (74 1/8 x 74 1/8 x 1 5/8 in.)
Signed and dated verso

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Untitled, 2021

Acrylic on paper
Unframed 50 x 40 cm
Signed and dated verso

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Untitled, 2022

Acrylic on paper
50 x 40 cm (19 3/4 x 15 3/4 in.)
Signed and dated verso

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Mai 36 Galerie Flavio Garciandia 1

Mai 36 Galerie Flavio Garciandia 2

Mai 36 Galerie Flavio Garciandia 3

Mai 36 Galerie Flavio Garciandia 4

Mai 36 Galerie Flavio Garciandia 5

Mai 36 Galerie Flavio Garciandia 6

Growing up in the 1970s in Caibarién, a small town in Cuba, that, due to its neo-latin decorative style, is known for it’s gaudiness, Garciandía bore witness to its residents’ peculiar sense of decoration – adorning the tiniest corners of their houses with the most incredible objects, from dolls to plastic flowers to ornamental swans. Living in an environment notorious for the overloading of empty spaces and the habit of repeating the same patterns, Garciandía started investigating the tackiness in Cuban culture – through his paintings the artist connects with his native Cuba, catching and commenting characteristic elements and peculiarities of his hometown: the sea, the floats of the carnivals and the recurrent ornamental motifs.

At the same time Garciandía’s work cites the history of modern art: after many years spent teaching, travelling and exhibiting internationally, the artist’s colorful compositions adapted a broad variety of stylistic directions, ranging from cubism to conceptualism and abstract expressionism.
Garciandía explains his sudden changes of style with a weariness of the same as well as a somewhat morbid, possibly pathological curiosity: an extreme eagerness to surprise himself.
The meaning of the titles Garciandía ascribes to his works can also be understood in this sense: for the artist they are organically related to the works and actively contribute to an increase of ambiguity. They open up unexpected levels of interpretation and above all, according to Garciandía, contribute to confusion. It is the titles of the works that transform Flavio Garciandía’s abstractions into a narrative territory full of sarcastic imagination and critical intelligence: provoking an interplay with gloomy figurative remnants that distort, falsify and change their meaning. We are looking at paintings full of diversionist elements and indicated patterns. In some cases, the motifs located on the edge of the canvas create the feeling that the work does not end, that the painting goes beyond its own borders and thus calls for continuity.

In an analytic sense, Garciandía’s paintings may be the mise-en-scene of the pictorial. But within these terrains promiscuous relationships are developed: his paintings are a sort of free zone where all classes of authorial and subtle stylistic references to art and culture can be found and lost, a zone of crossings and voyages.

all images © the gallery and the artist(s)


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