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Gerardo Liranza Durán (*1987, Cuba)

Artist Statement:
Industries, factories, small businesses, have been hit by the Covid-19, hundreds, thousands in bankruptcy. I try to establish a relationship between these spaces that have been disappearing in time and those that, thanks to utopia, have been growing. I appeal above all to visual memory, it is where a gap is opened between reality and fiction, attracted by the idea of seeing the experimental changes of nature in isolated and abandoned places. I have begun to paint the landscape from the intimate place that expands us and offers us the best of perspectives, it is remembered and when remembering the moment is evoked, creating a landscape where the ideal stands out and merges with reality, the annihilated structures due to the Coronavirus and abandonment they assume a total resignification – in the manner of “a new landscape”.

Resignificación / Resignification
2014, Oil on canvas,
150 x 150 cm

4’200 CHF

Curriculum
Studies:
Graduated from the National Academy of Fine Arts San Alejandro. Havana, Cuba in 2012 after graduating from the School for Art Instructors Eduardo García Delgado in 2006. Lives and works in Havana, Cuba.

Scholarships and residencies:
2010. AECID Scholarship. Royal Academy of Spain in Rome. Italy

Main solo exhibitions:
2019: Points of view THE RUINS. Atelier NG Havana. Havana, Cuba
2018: A new reality. NG Gallery. Panama City. Panama
2016: Paint it black. Galiano Gallery. Havana, Cuba

Main group exhibitions:
2020: Art Madrid 2020, Madrid, Spain
2019: LYCEUM. Plaza Culture House. Collateral XIII Biennial of Havana. Havana, Cuba
2018: Resonance. Galiano Gallery. Collateral XIII Biennial of Havana. Cuba
2018: Artifices. Atelier NG Havana. Collateral XIII Biennial of Havana. Cuba
2018: Meraki. NG Gallery. Panama City. Panama
2018: Complementary Spaces. Cuban Art Factory (FAC) Havana, Cuba.

Onay Rosquet (*1987, Havana)

Onay Rosquet (Havanna, *1987) takes inventory of our lives. He demonstrates: We can not give up our “attachments”, cannot live on bread alone. As insignificant as every object, every meaning appears, in their totality they show our life.

The exhibition ATTACHMENTS is his second solo exhibition in Zurich. The latest work presented is a continuation of his series of collection of objects shown in 2017. His seemingly random – yet carefully orchestrated – compilation of papers lets the audience immerse themselves in personal memories. By painting collections of paper, he conjures up almost forgotten associations in the viewer. Onay Rosquet wants us to pay attention to the things we usually do not notice.

“I’m fascinated by the social phenomenon of people’s dependency on documents – be it bills, legal documents or love letters,” says Rosquet. He shows how t