Hipnotizador, From the series Letargo
enamel on canvas
400 x 400 cm
157,48 x 157,48 in
The rural and urban landscape reflect the mental state of society. Rural and urban sites can become anonymous or difficult to define, even when they are populated with buildings or landscape features. They are however indicative of transformation, loss, gain, occurrence. In this painting, huge in scale, and therefore implying the scale of the structure in reality, demonstrates a building anonymous in its purpose but recognizable for some, and defined by the artist as Hipnotizador. This work is from the series, Letargo, and finds its references in the bunkers built in the context of the Second World War and the Cold War and that the artist explored in his travels through some countries in Europe.
Alejandro Campins (Manzanillo, Cuba 1981) lives and works between Havana and Madrid. He studied at "El Alba" Professional Academy of Fine Arts in Holguin (2000) and the Higher Institute of Arts (ISA) in Havana (2009). Campins' paintings, drawings and photographs explore the genre of landscape and places with a strong emotional charge that challenge our perception of space and time.
In 2019 he was part of the Cuban Pavilion at the 58th Venice Biennale and of the XIII Havana Biennial.
Among his most recent solo exhibitions we mention: Miedo a la muerte es miedo a la verdad, Centro de Arte Contemporáneo Wifredo Lam, Havana, Cuba (2019); Public Declaration, Galleria Continua, San Gimignano, Italy (2017); City of Queen Anne´s Lace (Duo Show), Wasserman Projects, Detroit, Michigan (2017); Los ojos de la percepción, Fototeca de Cuba, Havana, Cuba (2016) and Lapse, Sean Kelly Gallery, New York, New York (2016); among others.
Most recent group exhibitions that feature his work include: Time for change: Art and social Unrest in the Jorge Perez Collection, El Espacio 23, Miami, Florida (2019); Buena Vista, Fondation Clément, Martinique, Martinique (2018); Pintar a contratiempo, Centro Hispanoamericano de Cultura, Havana, Cuba (2018); Edifice, Complex, Visionary, Structure, Sean Kelly gallery, New York, New York (2018); Las ciudades invisibles, Colegio de Arquitectos (UNAICC), Havana, Cuba (2017); Cuba mi amor, Franco Parenti Theater, Milan, Italy (2017); Adiós Utopia: Dreams and Deceptions in Cuban Art Since 1950, Walker Art Center, Minneapolis, Minnesota (2017); Art x Cuba, Contemporary Perspectives since 1989. Ludwig Forum fur Internationale Kunst, Aachen, Germany (2017); among others.