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Flora Fong (*1949, Camagüey)
Having concluded studies at the Provincial School of Plastic Arts of Camagüey, she graduated from the National School of Art of Havana in 1970 and was a teacher at San Alejandro Academy of Fine Arts until 1989. Member of the Union of Writers and Artists of Cuba (UNEAC) and of the International Association of Plastic Artists (AIAP).
She has broached painting, drawing, sculpture, ceramics, the stained-glass technique, fabric design and the construction of kites with the Oriental technique. In 1988 she received a study grant from the Italian government. She traveled to China in a cultural exchange mission in 1989 and in 1997 presented a solo show at the Workers’ Palace of Culture in Beijing. Her works have been exhibited in the United States of America, Malaysia, Germany, Russia, Spain, Mexico, the United Kingdom, China, Portugal, Italy, France, Japan and South Korea, among other countries.
She has deserved numerous prizes and distinctions because of the quality of her work since 1970, year of her graduation, up to the present.
The Council of State of the Republic of Cuba granted her the Distinction for National Culture in 1988. In 1989 she received the distinction “23 de Agosto” granted by the Federation of Cuban Women and in 1999 the distinction “Illustrious Daugh- ter of the City of Camagüey”, as well as the acknowledgment “Espejo de Paciencia” from the Provincial Authority of Culture in Camagüey. In 2002 she received the Diploma for Artistic Merit from the Higher Institute of Art. In 2005 she obtained the distinction “Gitana Tropical”, which is granted by the Provincial Authority of Culture in Havana, and in 2006 the Giral- dilla of Havana from the Provincial Government. In 2007 the Higher Institute of Art (ISA) granted her the Special Teaching Category of Consultant Professor.
Entre mar y tierra | Between Land and See
2010, Mixed on canvas
176×130 cm
Gilberto Frómeta (*1946, Havana)
He is a well-known draftsman, painter, engraver and graphic designer. Having studied Commercial Art in the United States in 1958-60, he graduated in 1967 from the National School of Art (ENA) in Havana, and in 1984 obtained a bachelor degree in visual arts, with specialization in graphics, from the Higher Institute of Art (ISA) in Havana. His working experience began as a graphic designer for the magazine Cuba Internacional. Later he was an advisor to the Directorate of Artistic Education of the Cuban Ministry of Culture and in 1978 was director of the National School of Design in Havana. He also worked as a teacher of drawing at the National School of Art. Since 1985 he has been an independent artist, extending his teaching activity to several Latin American countries, among them Mexico, Ecuador and Venezuela. He is a member of the Union of Writers and Artists of Cuba (UNEAC) and of the Experimental Graphics Workshop of Havana.
Red Vastness
2010, Oil on canvas
125 x 210 cm
10’000 CHF
Reddish Verse
2010, Acrylic and oil on canvas
126 x 200 cm
10’000 CHF
Enrique Báster (*1973, Holguín)
Enrique Báster (Holguín, 1973) graduated in 1988 from the elementary level in Plastic Arts at the Holguín Vocational School of Art. In 1992 he finished his studies at the middle level in that city. In 1997 he graduated in the specialty of Painting at the Higher Institute of Art, currently the University of the Arts (ISA). He has made more than a dozen personal exhibitions in galleries in Cuba, Brazil, Peru, and the United States. It integrates the catalog of the Villa Manuela gallery of the Union of Writers and Artists of Cuba. He has participated in collective exhibitions in Cuba, Puerto Rico, Brazil, the United States, Lebanon, Peru, Greece, Cyprus, and Mexico.
Absolute abstraction does not exist in art. Enrique Báster does not even propose it. These series tend bridges towards more or less identifiable references; It is perfectly possible to identify metaphors. And titles often illuminate ideas.
In Virus the alteration of fabric is remarkable. The color and the stroke pose a disturbing “landscape” that evokes the invasive capacity of a toxin.
In the end, it is about recreating another geometry, from the most elementary geometry. A commitment that, in the tidal wave of graphics that try to explain the contemporary world, becomes complex what is already complex.
In overcrowding there is, obviously, overcrowding: agglomeration of elements that seem to look for an escape point. The notion of order has been put into crisis, although some logic persists in that chaos.
These abstractions of Enrique Báster poetize perfectly scientific concepts, such as expansion, movement, speed, displacement. Everything induces this permanent mutation that characterizes current societies.
Overcrowding
2018, Oil on canvas
100 x 80 cm
Carlos Quintana (*1966, Havana)
Each of the works is permeated by the intense and powerful inner world of this self-taught artist. As a young painter in Havana, he came into contact with contemporary Cuban artists. From then on he took part in exhibitions and in 1993 emigrated to Spain. In total, he stayed abroad for over 10 years. He traveled extensively and exhibited in Venezuela, Costa Rica, Mexico and the United States, among others. During his travels and exhibitions, he consolidated his work, which became increasingly independent and ultimately earned him international recognition. He has been living in Cuba again since 2006, but travels constantly around the world. His name is now also internationally recognized as one of the most important for contemporary Cuban art. Quintana’s painting and drawing techniques give his work a magic that is only possible through perfect mastery of the craft.
Birthday of Zenaida Ledesma
2016, Oil on canvas
200 x 150 cm
Lancelot Alonso (*1986, Havana)
Lancelot Alonso graduated in 1997 from the José Antonio Díaz Peláez Experimental Center for Visual Arts, where he finished elementary school. He continued his studies at the FIT School of Design in New York in 2005 and at San Alejandro Academy of Fine Arts in Havana, where he graduated in 2008. He lives and works in Havana.
For strong emotions, we have the work of Lancelot Alonso. On one occasion he was asked about his favorite themes and answered: “I think an important moment was that of my graduation thesis. I sat down to think. The thesis obliges you to develop a theme. I said to myself: ‘I’m not interested in doing what postmodern US Americans did, all that reflection on the problems of art… Among the ‘national’ themes, I am not interested in talking about emigration, marginality, either… until I stopped giving thought to it. I am an erotic, sensual guy. There’s the way.”
The Prison of a Swan | La prision de un cisne
2017, Acrylic on canvas
210 x 140 cm
CHF 6’000
