Galleria Continua GALLERIA CONTINUA | Galleria d'arte contemporanea
中文
Galleria Continua
San Gimignano
Beijing
Les Moulins
Habana
Roma
Sao Paulo
Paris
Yoan Capote

Espinario 2024, exhibition view Galleria Continua / Paris. Photo: Hafid Lhachmi. © ADAGP Paris.

Yoan Capote

Espinario 2024, exhibition view Galleria Continua / Paris. Photo: Hafid Lhachmi. © ADAGP Paris.

Yoan Capote

Purificación (pareidolia) 2023, plaster, barbed wire, fences, chains and other recycled metal elements on jute mounted over wooden panel, 180 x 200 cm. Photo: Studio Abbruzzese

Yoan Capote

Deriva (elegía) 2023, bronze, polished bronze and chrome, 12 x 200 x 23 cm. Photo: Studio Abbruzzese

Yoan Capote

Retrato de familia Series 2022, mirrors and wooden frames, variable dimensions. Installation view at MITICO 2023, Villa Sant’Andrea, A Belmond Hotel, Sicily. Photo Federico Ciamei

Yoan Capote

'Elegy' 2022, exhibition view at Galleria Continua, The St. Regis, Roma. Photo: Giorgio Benni

Yoan Capote

'Elegy' 2022, exhibition view at Galleria Continua, The St. Regis, Roma. Photo: Giorgio Benni

Yoan Capote

Requiem (lontananza) 2022, oil, nails, 24k goldleaf, collective blood and fishhooks on canvas mounted on wooden panel, 180 x 352 cm. Photo: Giorgio Benni

Yoan Capote

Isla (lasitud) 2022, oil, nails and fishhooks on linen mounted on wooden panel, 165 x 240 cm. Photo: Giorgio Benni

Yoan Capote

Isla (lasitud) 2022, oil, nails and fishhooks on linen mounted on wooden panel, 165 x 240 cm. Photo: Giorgio Benni

Yoan Capote

Requiem (exvoto) 2022, oil, 24k goldleaf, nails and fishhooks on panel of plywood and canvas, 81 x 160 cm. Photo: Giorgio Benni

Yoan Capote

Requiem (exvoto) 2022, oil, 24k goldleaf, nails and fishhooks on panel of plywood and canvas, 81 x 160 cm. Photo: Giorgio Benni

Yoan Capote

Isla (realismo mágico) 2022, oil, nails and fishhooks on linen mounted on wooden panel, 120 x 120 cm. Photo: Giorgio Benni

Yoan Capote

Isla (lacrimosa) 2022, oil, nails and fishhooks on linen mounted on wooden panel, 120 x 210 cm. Photo: Giorgio Benni

Yoan Capote

Isla (lacrimosa) 2022, oil, nails and fishhooks on linen mounted on wooden panel, 120 x 210 cm. Photo: Giorgio Benni

Yoan Capote

Purificación (alambrada) 2022, plaster, wires and recycled metal elements on jute panel mounted on plywood, 118 x 182 cm. Photo: Giorgio Benni

Yoan Capote

Purificación (revelación) 2022, plaster, wires and recycled metal elements on jute panel mounted on plywood, 118 x 182 cm. Photo: Giorgio Benni

Yoan Capote

Purificación (espejismo) 2022, plaster, wires and recycled metal elements on jute panel mounted on plywood, 100 x 70 cm. Photo: Giorgio Benni

Yoan Capote

Deriva 2022, marble, wood, and metal, variable dimensions. Photo: Giorgio Benni

Yoan Capote

Presagio 2022, wood and metal, 56 x 76 cm. Photo: Giorgio Benni

Yoan Capote

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

Yoan Capote

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

Yoan Capote

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

Yoan Capote

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

Yoan Capote

Requiem (plegaria) 2019 - 2021. Installation view at Biennale of Sydney, March 12 - June 13, 2022

Yoan Capote

Erguidos / Upstanding 2020, Wooden yokes, concrete base and metal, 200 x 27 x 27 cm (each). Photo: Nestor Kim

Yoan Capote

Erguidos / Upstanding 2020, Wooden yokes, concrete base and metal, 200 x 27 x 27 cm (each). Photo: Nestor Kim

Yoan Capote

Erguidos / Upstanding 2020, Wooden yokes, concrete base and metal, 200 x 27 x 27 cm (each). Photo: Nestor Kim

Yoan Capote

Sujeto Omitido exhibition view, Galleria Continua, San Gimignano. Photo: Ela Bialkowska, OKNO Studio

Yoan Capote

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

Yoan Capote

Isla (transgresión) / Island (transgression),  2020, Oil painting and fish hooks on plywood panel and canvas, 172 x 134 cm. Photo: Nestor Kim

Yoan Capote

Isla (persistencia) / Island (persistence), 2020, Oil painting and fish hooks on plywood panel and canvas, 172 x 134 cm. Photo: Nestor Kim

Yoan Capote

Isla (persistencia) / Island (persistence), 2020, Oil painting and fish hooks on plywood panel and canvas, 172 x 134 cm. Photo: Nestor Kim

Yoan Capote

Isla (impunidad), 2019, oil painting and fish hooks on panel of plywood and canvas, 127 x 170 cm

Yoan Capote

Isla (eufemismo) 2019, oil painting and fish hooks on panel of plywood and canvas, 96 x 135 cm, 37,79 x 53,14 in

Yoan Capote

Muro de mar (aprehensión I), 2019, concrete, wood, steel, nails and fish hooks, 90 x 95 cm. Photo: Pamela Bralia

Yoan Capote

Muro de mar (aprehensión I), 2019, concrete, wood, steel, nails and fish hooks, 90 x 95 cm. Photo: Pamela Bralia

Yoan Capote

Muro de mar (aprehensión II), 2019, concrete, wood, steel, nails and fish hooks, 90 x 95 cm. Photo: Pamela Bralia

Yoan Capote

Stress (desplazados), 2019, bronze, concrete, 200 x 43 x 43 cm. Photo: Ela Bialkowska, OKNO Studio

Yoan Capote

Stress (desplazados), 2019, bronze, concrete, 200 x 43 x 43 cm. Photo: Ela Bialkowska, OKNO Studio

Yoan Capote

Autorretrato (estudio de resistencia), 2019, bronze, concrete. Photo: Ela Bialkowska, OKNO Studio

Yoan Capote

Autorretrato (estudio de resistencia), 2019, bronze, concrete. Photo: Ela Bialkowska, OKNO Studio

Yoan Capote

Lastre (I), 2019, concrete, rebars and wires, 184 x 104 x 12 cm. Photo: Ela Bialkowska, OKNO Studio

Yoan Capote

Lastre (II), 2019, concrete, rebars and wires, 189 x 95 x 12 cm. Photo: Ela Bialkowska, OKNO Studio

Yoan Capote

Visceral (rib cage), 2019, ink and pensil on paper, 76 x 56 cm

Yoan Capote

Lastre II (dibujo), 2019, ink and pensil on paper, 76 x 56 cm

Yoan Capote

Lastre I (dibujo), 2019, ink and pensil on paper, 76 x 56 cm

Yoan Capote

Abstinencia (Derechos),  2019, Installation (8 hands in cast bronze), life size hands. Photo: Ela Bialkowska, OKNO Studio

Yoan Capote

Abstinencia (Derechos),  2019, Installation (8 hands in cast bronze), life size hands. Photo: Ela Bialkowska, OKNO Studio

Yoan Capote

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

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

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: moving the viewer from passive observation to intellectual reaction


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.

Yoan Capote
Yoan Capote
Yoan Capote
Yoan Capote
Yoan Capote
Yoan Capote
Yoan Capote
Yoan Capote
Yoan Capote
Yoan Capote
Yoan Capote
Yoan Capote
Yoan Capote
Yoan Capote
Yoan Capote
Yoan Capote
Yoan Capote
Yoan Capote
Yoan Capote
Yoan Capote
Yoan Capote
Yoan Capote
Yoan Capote
Yoan Capote
Yoan Capote
Yoan Capote
Yoan Capote
Yoan Capote
Yoan Capote
Yoan Capote
Yoan Capote
Yoan Capote
Yoan Capote
Yoan Capote
Yoan Capote
Yoan Capote
Yoan Capote
Yoan Capote
Yoan Capote
Yoan Capote
Yoan Capote
Yoan Capote
Yoan Capote
Yoan Capote
Yoan Capote
Yoan Capote
Yoan Capote
Yoan Capote
Yoan Capote
Yoan Capote
Yoan Capote
Yoan Capote