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XIII HAVANA BIENNIAL – GALERÍA ORÍGENES / HAVANA


(group exhibition) as part of the 2019 Havana Biennial, Havana, Cuba. April 11 – May 11, 2019


XIII HAVANA BIENNIAL – GRAN TEATRO DE LA HABANA / HAVANA


HB (group exhibition) as part of the 2019 Havana Biennial, Havana, Cuba. April 11 – May 11, 2019


QUEENS MUSEUM / NEW YORK

Mundos Alternos: Art and Science Fiction in the Americas (group exhibition) Curated by Robb Hernández, Assistant Professor of English at UCR; Tyler Stallings, Director of the Frank M. Doyle Arts Pavilion at Orange Coast College, and former Artistic Director of the Barbara and Art Culver Center of the Arts at UCR ARTS; and Joanna Szupinska-Myers, Senior Curator at the California Museum of Photography at UCR ARTS. Queens Museum, New York. Apr 7 2019 – Aug 18 2019


ART BASEL | MIAMI BEACH – DAVID CASTILLO GALLERY / MIAMI BEACH


David Castillo Gallery (group exhibition) as part of Art Basel, Miami Beach. December 6 – 9, 2018


XIV CUENCA BIENNIAL – MUSEO DE LA CIUDAD / CUENCA

  
Plural domains: selected works from the Cisneros Fontanals Art Foundation (group exhibition), Curated by Jesús Fuenmayor, as part of the 2018 Cuenca Biennial, Cuenca, Ecuador. November 23, 2018 – February 3, 2019


RESIDENCY UNLIMITED / NEW YORK

Artist In ResidenceResidency UnlimitedBrooklyn, New York, U.S. Oct. 01 – Nov. 30, 2018


POWERPLANT GALLERY – DUKE UNIVERSITY / NEW YORK

Visionary Aponte: Art & Black Freedom (group exhibition) Power Plant Gallery | Duke University, Durham, North Carolina. September 19 – November 17, 2018


FROST ART MUSEUM / MIAMI

Deconstruction: A reordering of life, politics, and art (group exhibition) Curated by Amy Galpin, Frost Art Museum, Miami, Florida. July 10 – September 30, 2018


ORLANDO MUSEUM OF ART / ORLANDO

Florida prize in contemporary art (group exhibition), Curated by Hansen Mulford, Orlando Museum of Art, Orlando, Florida. June 01, 2018


USF CONTEMPORARY ART MUSEUM / TAMPA


Climate change / Cuba – US Transition (group exhibition)
Curated by: Noel Smith, USF Contemporary Art Museum, Tampa, Florida, US. January 12 – March 3, 2018


WALKER ART CENTER / MINNEAPOLIS

Adiós Utopia: Dreams and Deceptions in Cuban Art Since 1950 (group exhibition) Conceived by CIFO Europa and organized in partnership with the Museum of Fine Arts, Houston, and the Walker Art Center; Walker Art Center, Minneapolis, US. November 11, 2017 – March 18, 2018


LUDWIG FORUM FÜR INTERNATIONAL KUNST / AACHEN

Art x Cuba – Contemporary Perspectives since 1989 (group exhibition) Curated by Dr. Andreas Beitin and Tonel (Antonio Eligio Fernandez); Ludwig Forum für International Kunst, Aachen, Germany. September 07, 2017 – February 2018


CORAL GABLES MUSEUM / CORAL GABLES

Between the Real and the Imagined (group exhibition) Curated by Elizabeth Cerejido, Coral Gables Museum, Coral Gables, Florida. August 30 – October 22, 2017

08/2017 THE NATION

“Glexis Novoa, a Cuban artist who protested ROCI’s collaboration with his country’s “self-colonizing” cultural institutions, still had to admit: “You cannot avoid liking Rauschenberg as an artist.” His energetic enthusiasm covers a multitude of doubts.”  -Barry Schwabsky

Zero Gravity: Robert Rauschenberg and the art of the New Frontier (periodical) by Barry Schwabsky, The Nation, New York. August 24, 2017 

06/2017 ART IN AMERICA

“…small groups of collages in a darker mode of science fiction that Cuban artist Glexis Novoa produced a decade ago but never showed before.”  -Gean Moreno

Atlas Miami / From the Margins (periodical) by Gean Moreno, Art in America, New York. June 20, 2017


MUSEUM OF FINE ARTS / HOUSTON

Adiós Utopia: Dreams and Deceptions in Cuban Art Since 1950 (group exhibition)
Conceived by the Cisneros Fontanals Fundación Para Las Artes (CIFO Europa) and organized in partnership with the Museum of Fine Arts, Houston, and the Walker Art Center; Museum of Fine Arts, Houston, Texas, US. March 5, 2017 – May 21, 2017.

CANTIERI DELLA ZISA / PALERMO

Cuba, Tatuar la historia (group exhibition)
Curated by Diego Sileo & Giacomo Zaza; Cantieri della Zisa; Palermo, Italy. October 7 – December 18, 2016.

MCCOLL CENTER FOR ART+INNOVATION / CHARLOTTE

Artist In Residence McColl Center for Art+Innovation, Charlotte, North Carolina, U.S. Aug. 22 – Nov. 22, 2016


SPAZIO OBERDAN / FOUNDAZIONE CINETECA ITALIANA / MILAN


El Canto del Cisne
 (screening)
1 hour documentary written and directed by Glexis Novoa.

Spazio Oberdan / Foundazione Cineteca Italiana; Milan, Italy. Julio 11, 2016

PADIGLIONE D’ARTE CONTEMPORANEA / MILAN


Cuba, Tatuar la historia (group exhibition)
Curated by Jorge Fernández Torres, Diego Sileo & Giacomo Zaza; Padiglione d’Arte Contemporanea, Milano. Jul. 5 – Sept. 12, 2016

PEREZ ART MUSEUM / MIAMI


Dialogues in Cuban art (symposium)
Conceived & curated by Elizabeth Ceregido, Perez Art Museum Miami, Miami, US. Apr. 28 – 29, 2016


RUBIN MUSEUM OF ART / NEW YORK

Gestures of faith in contemporary Cuban art (​group exhibition) Curated by Sara Reisman, Rubin Museum of Art, New York, New York. Apr. 4 – Jul. 10, 2016

MUSEO NACIONAL DE BELLAS ARTES / HAVANA

Things as they are / Things as they are (personal exhibition)
Curated by Corina Matamoros, National Museum of Fine Arts, Havana, Cuba. Sept. 23 – Jan. 16, 2016

JOAN MITCHELL CENTER / NEW ORLEANS

Artist In Residence (AIR) Grant ProgramJoan Mitchell Center, New Orleans, Lousiana, U.S. Nov. – Dec. 2015


LOWE ART MUSEUM / CORAL GABLES


Emptiness (personal exhibition)
Lowe Art Museum, Coral Gables, Miami, U.S. June. 19 – Oct. 19, 2015. Hamptons Art Hub – DM Art Pro – Miami Herald – El Nuevo Herald


BIENAL DE LA HABANA / HAVANA


Detras del muro II “En medio de la nada” (group exhibition) Malecón (Havana Biennial / collateral), Havana, Cuba. May 24, 2015.Art NexusArt Oncuba –  Agencia Cubana de Noticias – Cuban Art NewsDiario LibreMarti NoticiasGetty ImagesClarin


WANDEREUR / ONTARIO

Glexis Novoa: Inner power (online publication)
By Catherine Sicot (curator) & Ryan Stone (photographer), Wandereur, Ontario, Canada. March. 2015

THE JEWISH MUSEUM / MIAMI BEACH

The Chosen (group exhibition)
Jewish Museum, Miami Beach, US. Nov. 03, 2014

MUSEUM OF CONTEMPORARY ART / NORTH MIAMI

Third Space: Inventing the posible (group exhibition)
Museum of Contemporary Art, North Miami. Sept. 25, 2014


PÉREZ ART MUSEUM / MIAMI


Overview Galleries / Global Positioning Systems (group exhibition)
Pérez Art Museum Miami, Miami, Florida. Aug. 18, 2014


THE JOAN MITCHELL FOUNDATION / NEW YORK

Grant Program Recipient New York 2013


LEHMAN COLLEGE ART GALLERY / NEW YORK


Cuban America (group exhibition)
Curated by Yuneikys Villalonga & Susan Hoeltzel at Lehman College Art Gallery, New York, New York. February 4 – April 30, 2014


MUSEO DI ARTE MODERNA E CONTEMPORANEA DI TRENTO E ROVERETO / ROVERETO


Lost in Landscape (group exhibition)
Cuarated by Gerardo Mosquera at Museo di arte moderna e contemporanea di Trento e Rovereto, Rovereto, Italy. March 21 – August 31, 2014


PÉREZ ART MUSEUM MIAMI / MIAMI


Caribbean: Crossroads of the World (group exhibition)
Pérez Art Museum Miami, Miami, Florida. April 18 – Aug. 17, 2014


BABYLON CINEMA – INSTITUTO CERVANTES / BERLIN

El Canto del Cisne
The Instituto Cervantes in Berlin present the documentary El canto del Cisne (Swan song) produced and directed by Glexis NovoaKino Babylon, Berlin. June 27, 2013

CENTER FOR CONTEMPORARY ART LAZNIA / GDANSK

Politics: I do not like it, but it likes me (Group exhibition)
Curated by Agnieszka Kulazinska and Dermis León at Center for Contemporary Art Laznia, Gdansk, Poland; April 2013

MUSEO NACIONAL CENTRO DE ARTE REINA SOFIA / MADRID
Perder la forma humana, Una imagen sísmica de los anos ochenta en America Latina (Group exhibition), Curated by Red Conseptualismos del Sur at Museo Nacional Reina Sofia, Madrid, Spain; October 25, 2012

2012 MEDIATIONS BIENNALE / POZNAN

4th Mediations Biennial: “The Unknown:” The Americas (Group exhibition) Curated by Denise Carvalho. Muzeum Narodowe w Poznaniu, Poznan, Poland. September 14 – October 14

CISNEROS FONTANALS ART FOUNDATION

CIFO 2012 Grants & Commissions Program Exhibition
Glexis Novoa
 Mid-Career Commission Recipient. (Group exhibition) Cisneros Fontanals Art Foundation, Miami; September 06, 2012

CENTRE DE CULTURA CONTEMPORÁNIA DE BARCELONA / BARCELONA


Inundaciones (Group exhibition), Curated by Iván de la Nuez at Centro de Cultura Contemporanea de Barcelona, Barcelona, Spain; 2000


SKOWHEGAN SCHOOL OF PAINTING AND SCULPTURE

Artist in Residence Skowhegan, Maine, 1998

CENTRO ATLÁNTICO DE ARTE MODERNO – FUNDACIÓN CAIXA – CENTRO DE ARTE SANTA MÓNICA / LAS PALMAS – PALMA DE MALLORCA – BARCELONA

    
Cuba Siglo XX Modernidad y Sincretismo (Group exhibition), Centro Atlántico de Arte Moderno, Las Palmas, Canary Islands, also traveled to Fundación CAIXA, Palma de Mallorca; and Centro de Arte Santa Mónica, Barcelona, Spain 1996

 

about

Photo and copyright: Timothy Greenfield-Sanders

 

 

 

 

 

 

 

 

 

 

 

Glexis Novoa Vian (1964 Holguín, Cuba)

He lives in Miami, Florida, US since 1995 and he shares his time working in his studios in Vedado, Havana and Wynwood, Miami since 2013. Novoa also works on site specific wall drawings and ephemeral projects anywhere around the world. 

Novoa is a visual artist. Since the late eighties, he have produced art in many different media, including painting, performance, installation, and, most recently, graphite drawings -the material that would become his trademark. Novoa has attained international recognition for his site-specific wall drawings, which existed on the border between ephemeral art and architecture. His work repeatedly turns to the architecture of power and politics as its main subject.

Novoa’s work is featured in numerous private collections, international museums, art in public places and has been awarded with several awards and residencies.


QUOTES

“One with the most conceptual finesse was Glexis Novoa’s gallery of drawings-a sort of miniature museum of Soviet iconography camouflaged inside a ruin, a rich contrast of meanings that isolated us in a heterotopic perceptual experience.”

Hamlet Fernández (Art critic, professor at the University of Havana) Havana, Cuba 2016


“… Provisional Group members Glexis Novoa, Carlos Cárdenas and Francisco Lastra presented Rauschenberg with a crudely painted placard bearing an Indian head that said, ‘Very Good Rauschenberg’, and asked him to sign it, which he did. In these performances, the artists were once again making fun of the hypocritical obsequiousness of the Cuban cultural bureaucrats, who, despite the anti-American stance of the Cuban government, had given the ‘Yankee imperialist’ free rein to show his art in several of Havana’s art spaces at once, a gesture they viewed as a form of neocolonial submission It was a symbolic assault on the cultural bureaucracy in which body language spoke louder than words. “

Coco Fusco (Interdisciplinary artist and writer), New York, New York 2015


“Novoa communicates this latent power, endemic to the built environment through his powerful drawings, which reference humanity’s capacity to breach the porous membrane separating civic reform and totalitarian oppression through the very structures they design and build.”

Jill Deupi (JD, PhD Beaux Arts Director and Chief Curator, Lowe Museum), Coral Gables, Florida, US 2015


“… some of the most memorable work (XII Havana Biennale) came, this time, from two who were associated with the ‘golden age’ of the 1980s, […] the same Novoa, a member of the conceptually and critically aggressive generation … “

Rachel Weiss (Art critic, writer & curator), Chicago 2015


“Glexis is the essence of the revel and the survivor.” He’s been confronted with different forms of control and power, but always resisted through his art. His multi-faceted practice is rooted in his ethics, spirituality and humanism, which I find deeply inspiring . “

Catherine Sicot (Independent Curator, Producer & Arts Consultant), Toronto 2015


… “Like in Practical Stage, Novoa plays in the power structures of the art market, this time with the market that perception of the legitimacy of Cuban art is contingent upon where it is produced (Cuba), eschewing diasporic productions and increasing transnational relations among Cubans in and outside the island that had been destabilizing previously rigid territorial and ideological demarcations. Novoa both reinforces and challenges those market biases by producing work in Havana intended to circulate outside the specific charge of its conceived site and for the audience of audiences in Miami That Cuban artists in Cuba have been doing exactly that, for those compounds and contradictions inherent in such biases but also helps understand Novoa’s gestures of return as performative and strategic. ultimately reveal the inherent tensions and inevitable interconnectedness betwee n the local and global in today’s cultural production, as well as, the de-territorialization of nation and diaspora. “…

Elizabeth Cerejido (Independent curator) Miami 2014


“Novoa’s work is part of the living memory of Cuban art, which activates what can be thought of as contemporary tradition, and a great value in the context of a youth culture that forgets easily.”

Magaly Espinosa Delgado (Lecturer professor of aesthetics and art theory at the Superior Institute of Art) Havana 2013


“The grandiose scale of Silveira’s installation is countered by Glexis Novoa tiny surrealist graphite wall drawings combining architectural and biomorphic forms that one comes upon here and there in such unexpected places as the edge of a wall or in an out of the way corner.”

Saul Ostrow (American art critic and art curator), New York 2012


“… Equally important is the impact they have been leaving since the mid-nineties, the Cuban artists who have lived in the city (Monterrey, Mexico) Glexis Novoa is one of the most striking examples of the Caribbean heritage.”

Patrick Charpenel (Freelance curator and collector), Mexico DF 2007


“… Novoa uses the tradition of drawing seen in the detailed backgrounds of Flemish and Northern Renaissance paintings to sharpen our perception and melancholy awareness of the implacable onwards flow of events that where set in motion long ago, but have arrived at apocalypse now”

Paula Harper (PhD American art historian and art critic), Miami 2006


“Rem Koolhaas once wrote that in the future, all cities will be generic, as bland and as nondescript as airports, Many of Novoa’s drawn […] landscapes, depict the generic city of the future: unspecific urban spaces that could be located in Europe, in India, or Africa .The cityscapes seem ostensibly prosperous – the buildings are tall, the streets are clean – but they dovoid of life. environments is further intensified by the artist’s choice of slabs of marble as suport for his drawings. Novoa provokes our thoughts: Are these dehumanized cities what the future holds in store? Or do they already have a reality in many parts of the world? “

Rubén Gallo PhD Director of the Latin American Studies Program at Princeton University, New York 2005


“While in Mexico in the early 1990s, Novoa felt akin to Tomás Sánchez’s treatment of the landscape (though Sánchez’s trade is the country not the metropolis). Later, he fixed his attention on the often-ignored, detailed background renditions of the Flemish masters’ paintings and engravings. Add to this Édouard Baldus’ photos, Escher, and American pop– plus all architectural styles enamored with power – and you get an idea of Novoa’s influences… Drawing– not painting– these possible worlds is what interests Novoa, a perspective virtuoso who indulges in a practice considered second to painting and passed along (since the Renaissance) to the architecture profession. His pulse is careful and precise and his fantastic images are realistic and obtained in extremely small detail.”

Alfredo Triff Ph.D. in Philosophy and art critic. Miami 2004


“When the show closes, the museum will whitewash the walls, erasing the drawing.” Worcester: Gold and Smoke “critiques the powerful, as represented in the drawing’s architecture and its depiction of Worcester’s halcyon industrial past, not to mention the unsettling and near -constant references to surveillance The temporary nature of Novoa’s installation both critiques power – in this case, the vaunted art object and its marketability – and undercuts it.

That’s part of Novoa’s recipe: as imbedded in history as a city, or as imbedded in relationships as a person may, all will eventually turn to dust. In essence, we’re all exiles. This land, these structures we build, these bodies we inhabit, are illusory. Enjoy, observe, and take responsibility, this work says. Then pack your bags and move on. “

Cate McQuaid Art critic for the Boston Globe, Boston 2004


“The artist’s handling of” hyperspace “is impregnated by an action central factor to his artistic and political system. The total flux of images set against perpetual horizons is invariably countered by a device introduced to distract or dislocate. In his 2001 installation at the Miami Art Museum, the drawings on the museum walls met a challenging counterpart in the form of a public telephone. Visitors could call anywhere in the world for five minutes. Crayons next to the telephone, callers to write down their comments, typical of the graffiti of the telephone booths. In this context, the spectator recovered his critical distance, his individual and collective temporality; instead of simulated illusions, hypnosis was transformed into action, into experience. “

Marcelo Pacheco Chief Curator, Museum of Latin American Art, Buenos Aires Argentina 2003


“Novoa’s work juxtaposes imagined and real architectural structures within a seemingly unified space both by the tenets of Renaissance perspective and seventeenth century Dutch landscapes. More specifically, his marshalling of these earlier illusionistic aesthetic codes works in tandem with and in contrast to a marked sci -fi aesthetic and contemporary principle of digital morphing-that is, with his structures that combine, for example, details of the Taj Mahal with Mesopotamia’s Ziggurat. “

Kaira Cabañas Art historian. New York 2002


“Until now, Glexis’ work had seemed directed to the others. Only the others and very little himself. It had been a rather exteriorist, active, positive, even combative, critical work. Whether it was “romantic” or “practical”, it had lacked (or jealously concealed) a large part of its objectivity, its emotionality. He had avoided registering, penetrating himself. He had fought, if you will, against more or less abstract but recognizable enemies: politicians, artists, religious, assembled – like a great dragon with several heads – in what he called El Poder, which he could mock or ironic. “

Orlando Hernández Curator and art critic, Espacio Aglutinador, Havana 1994


“Though probably based on personal experience, Novoa’s art is not as much a critique of any one system as it is an ironic subversion of all attempts at manipulation and control. “

Giulio V. Blanc Curator and art critic. Miami 1993


“… Glexis has persevered to satirize the language of totalitarian propaganda, but it has done in a way that -due to the ignorance- is imperceptible to the social watchdog. the weight, the failed greatness of fascist and communist art, but diluting the references to reach also destabilize the commercial propaganda and the “Japanization” of corporate images. His case is exceptional to the extent that it has extended its traits against the totalitarian capitalism, the market and its media machine. “

Osvaldo Sanchez Curator and art critic. Mexico DF 1993


“… Glexis Novoa (1964) and Carlos Cárdenas (1963) sarcastically deconstruct the official rhetoric in their criticism of political iconography. …”

Edward J. Sullivan Helen Gould Sheppard Professor of the History of Art at New York University and author


“His work is a sarcasm of art and media manipulation.After a” Romantic Stage “consisting of a direct mockery of tricks, poses and artistic pedantry in art without the slightest ambition status (liked to call himself” The worst painter of the world ” ), Novoa now develops the “Practical Stage” hi paints good, build a personal style, sells and is recognized. His cynicism is greater than that of Polke or Richter: someone who becomes a good painter in order to ironically dismantle the system gears. .. and takes advantage above all.But also his “good” painting is in itself the most stinging criticism to rhetoricalization of communication in Cuba, adding edges to his gesture His signs as a way of slogans on billboards of political propaganda are meaningless signs that can be read as constructivist flavor abstract paintings He also painted portraits of heroes in the best Stalinist style, playing with some fascistic aesthetic made by postmodernism, and in allusion to deification f leaders.

With both elements Novoa build huge altars, the sum of all this very dense web of ironies and counter ironies about art, culture and politics. “

Gerardo Mosquera Freelance curator, critic & art historian. Havana 1990


contact

GLEXIS NOVOA STUDIO
glexisnovoa@gmail.com

DAVID CASTILLO GALLERY
420 Lincoln Road, Suite 300, Miami Beach, Florida 33139 United States
+1.305.573.8110
info@davidcastillogallery.com
http://davidcastillogallery.com/

GALERÍA LA ACACIA
La Habana, Cuba
http://www.galerialacacia.com/

IK PROJECTS
San Isidro, Lima, Perú
https://www.ik-projects.com/

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