'Elegy' 2022, exhibition view at Galleria Continua, The St. Regis, Roma. Photo: Giorgio Benni
'Elegy' 2022, exhibition view at Galleria Continua, The St. Regis, Roma. Photo: Giorgio Benni
Requiem (lontananza) 2022, oil, nails, 24k goldleaf, collective blood and fishhooks on canvas mounted on wooden panel, 180 x 352 cm. Photo: Giorgio Benni
Isla (lasitud) 2022, oil, nails and fishhooks on linen mounted on wooden panel, 165 x 240 cm. Photo: Giorgio Benni
Isla (lasitud) 2022, oil, nails and fishhooks on linen mounted on wooden panel, 165 x 240 cm. Photo: Giorgio Benni
Requiem (exvoto) 2022, oil, 24k goldleaf, nails and fishhooks on panel of plywood and canvas, 81 x 160 cm. Photo: Giorgio Benni
Requiem (exvoto) 2022, oil, 24k goldleaf, nails and fishhooks on panel of plywood and canvas, 81 x 160 cm. Photo: Giorgio Benni
Isla (realismo mágico) 2022, oil, nails and fishhooks on linen mounted on wooden panel, 120 x 120 cm. Photo: Giorgio Benni
Isla (lacrimosa) 2022, oil, nails and fishhooks on linen mounted on wooden panel, 120 x 210 cm. Photo: Giorgio Benni
Isla (lacrimosa) 2022, oil, nails and fishhooks on linen mounted on wooden panel, 120 x 210 cm. Photo: Giorgio Benni
Purificación (alambrada) 2022, plaster, wires and recycled metal elements on jute panel mounted on plywood, 118 x 182 cm. Photo: Giorgio Benni
Purificación (revelación) 2022, plaster, wires and recycled metal elements on jute panel mounted on plywood, 118 x 182 cm. Photo: Giorgio Benni
Purificación (espejismo) 2022, plaster, wires and recycled metal elements on jute panel mounted on plywood, 100 x 70 cm. Photo: Giorgio Benni
Deriva 2022, marble, wood, and metal, variable dimensions. Photo: Giorgio Benni
Presagio 2022, wood and metal, 56 x 76 cm. Photo: Giorgio Benni
Isla (elegía) 2019-2022, oil painting, nails and fish hooks on panels of linen mounted on plywood, 270 x 924 x 12 cm. Installation view at Art Basel Unlimited 2022. Photo: Andrea Rossetti
Isla (elegía) 2019-2022, oil painting, nails and fish hooks on panels of linen mounted on plywood, 270 x 924 x 12 cm. Installation view at Art Basel Unlimited 2022. Photo: Andrea Rossetti
Isla (elegía) 2019-2022, oil painting, nails and fish hooks on panels of linen mounted on plywood, 270 x 924 x 12 cm. Installation view at Art Basel Unlimited 2022. Photo: Andrea Rossetti
Isla (elegía) 2019-2022, oil painting, nails and fish hooks on panels of linen mounted on plywood, 270 x 924 x 12 cm. Installation view at Art Basel Unlimited 2022. Photo: Andrea Rossetti
Requiem (plegaria) 2019 - 2021. Installation view at Biennale of Sydney, March 12 - June 13, 2022
Erguidos / Upstanding 2020, Wooden yokes, concrete base and metal, 200 x 27 x 27 cm (each). Photo: Nestor Kim
Erguidos / Upstanding 2020, Wooden yokes, concrete base and metal, 200 x 27 x 27 cm (each). Photo: Nestor Kim
Erguidos / Upstanding 2020, Wooden yokes, concrete base and metal, 200 x 27 x 27 cm (each). Photo: Nestor Kim
Sujeto Omitido exhibition view, Galleria Continua, San Gimignano. Photo: Ela Bialkowska, OKNO Studio
Isla (mare nostrum) 2019, oil painting and fish hooks on panel of plywood and canvas, 250 x 520 cm; 4 panels of 250 x 130 cm (each). Photo: Ela Bialkowska, OKNO Studio
Isla (transgresión) / Island (transgression), 2020, Oil painting and fish hooks on plywood panel and canvas, 172 x 134 cm. Photo: Nestor Kim
Isla (persistencia) / Island (persistence), 2020, Oil painting and fish hooks on plywood panel and canvas, 172 x 134 cm. Photo: Nestor Kim
Isla (persistencia) / Island (persistence), 2020, Oil painting and fish hooks on plywood panel and canvas, 172 x 134 cm. Photo: Nestor Kim
Isla (impunidad), 2019, oil painting and fish hooks on panel of plywood and canvas, 127 x 170 cm
Isla (eufemismo) 2019, oil painting and fish hooks on panel of plywood and canvas, 96 x 135 cm, 37,79 x 53,14 in
Muro de mar (aprehensión I), 2019, concrete, wood, steel, nails and fish hooks, 90 x 95 cm. Photo: Pamela Bralia
Muro de mar (aprehensión I), 2019, concrete, wood, steel, nails and fish hooks, 90 x 95 cm. Photo: Pamela Bralia
Muro de mar (aprehensión II), 2019, concrete, wood, steel, nails and fish hooks, 90 x 95 cm. Photo: Pamela Bralia
Stress (desplazados), 2019, bronze, concrete, 200 x 43 x 43 cm. Photo: Ela Bialkowska, OKNO Studio
Stress (desplazados), 2019, bronze, concrete, 200 x 43 x 43 cm. Photo: Ela Bialkowska, OKNO Studio
Autorretrato (estudio de resistencia), 2019, bronze, concrete. Photo: Ela Bialkowska, OKNO Studio
Autorretrato (estudio de resistencia), 2019, bronze, concrete. Photo: Ela Bialkowska, OKNO Studio
Lastre (I), 2019, concrete, rebars and wires, 184 x 104 x 12 cm. Photo: Ela Bialkowska, OKNO Studio
Lastre (II), 2019, concrete, rebars and wires, 189 x 95 x 12 cm. Photo: Ela Bialkowska, OKNO Studio
Visceral (rib cage), 2019, ink and pensil on paper, 76 x 56 cm
Lastre II (dibujo), 2019, ink and pensil on paper, 76 x 56 cm
Lastre I (dibujo), 2019, ink and pensil on paper, 76 x 56 cm
Abstinencia (Derechos), 2019, Installation (8 hands in cast bronze), life size hands. Photo: Ela Bialkowska, OKNO Studio
Abstinencia (Derechos), 2019, Installation (8 hands in cast bronze), life size hands. Photo: Ela Bialkowska, OKNO Studio
Speechless - series, 2019, bronze and facial tissues, life size faces, h 13 x 13 x 22,5 cm. Photo: Ela Bialkowska, OKNO Studio
Speechless - series, 2019, bronze and facial tissues, life size faces, h 13 x 13 x 22,5 cm. Photo: Ela Bialkowska, OKNO Studio
Speechless - series, 2019, bronze and facial tissues, life size faces, h 13 x 13 x 22,5 cm. Photo: Ela Bialkowska, OKNO Studio
Yoan Capote is an artist whose work spans many different mediums; sculpture, painting, installation, photography and video. He often uses mundane objects, representations or images that incite a political or psychological reference. These are recognized by viewers from all kinds of backgrounds and experiences, not just those familiar with Cuban society. These “mundane objects” are perceived by Capote as extensions of our body. A tool for extending the landscape of symbols that we come across. His work tries to accentuate the meaning or the poetry these objects contain.
The human body is an important reference point in his work, something that Yoan Capote sees as full of symbols and expressions. It can be a vessel or a catalyst for universal ideas and experiences. The human psyche and the psychology that surrounds us are a source of inspiration that he taps into, claiming that its helpful in rendering his work more expansive towards an essential or universal analysis. It’s through this that Capote’s work, although deeply connected with the Cuban experience, manages to profoundly affect people from all kinds of circumstances.
Adel Abdessemed Etel Adnan Ai Weiwei Leila Alaoui Juan Araujo Kader Attia Daniel Buren Cai Guo-Qiang Alejandro Campins Iván Capote Yoan Capote Loris Cecchini Elizabet Cerviño Chen Zhen Nikhil Chopra Marcelo Cidade Carlos Cruz-Diez Jonathas de Andrade Berlinde De Bruyckere Leandro Erlich Carlos Garaicoa Osvaldo González Antony Gormley Gu Dexin Shilpa Gupta Subodh Gupta Carsten Höller JR Ilya & Emilia Kabakov Zhanna Kadyrova Kan Xuan Anish Kapoor André Komatsu Jannis Kounellis Luis López-Chávez Jorge Macchi Ahmed Mater Cildo Meireles José Manuel Mesías Sabrina Mezzaqui Moataz Nasr Rudi Ninov Hans Op de Beeck Ornaghi & Prestinari Giovanni Ozzola Susana Pilar Michelangelo Pistoletto Qiu Zhijie Tobias Rehberger Arcangelo Sassolino Manuela Sedmach Serse Kiki Smith Nedko Solakov Marta Spagnoli José Antonio Suárez Londoño Hiroshi Sugimoto Sun Yuan & Peng Yu Ana Maria Tavares Pascale Marthine Tayou Armando Testa Nari Ward Sislej Xhafa José Yaque Zhuang Hui
