At the Kendall Museum of Contemporary Americas, we believe in the transformative power of art and its ability to unite communities. That's why we take pride in presenting our program "Art in the Community," designed to bring art and creativity to people of all ages and backgrounds in our community.
"Art in the Community" is a comprehensive and enriching program that aims to foster active participation and engagement with art. Through a variety of exciting and educational activities, we strive to inspire imagination, unleash creative expression, and promote cultural dialogue.
Our programming includes a series of captivating exhibitions showcasing works by local, national, and international artists. These exhibitions provide a window into the world of contemporary art, allowing visitors to explore diverse forms of artistic expression. In addition, we offer creative workshops and educational programs that provide participants with the opportunity to experiment with a variety of artistic techniques and develop their creative skills. Our workshops are led by artists and experts in the field, ensuring an enriching and stimulating experience for all participants.
The "Art in the Community" program is also committed to providing an inclusive and accessible space for everyone to enjoy and participate in art. We strive to reach underrepresented segments of the community and provide opportunities for their voices and talents to be recognized and valued. Additionally, our program seeks to establish connections and collaborations with other community organizations, educational institutions, and local artists, with the goal of strengthening ties within our artistic community and fostering cultural exchange.
"Art in the Community" is more than just a program; it is a call to participation and the discovery of the beauty and power of art. Together, we can create an environment where art flourishes, connecting people, transcending borders, and creating a sense of belonging in our community.
At first glance, it would seem that the work of Antonio Espinosa and Alain Pino have no connection to each other, as they are two artists with different trajectories and, if you will, polarized. But beyond the topics that obsess both creators, the turning point that unites them is the procedural conception of their pieces, the transformation of a primordial idea that will later evolve into an artistic expression. This is the reason that brings them together and becomes a pretext to join them in the upcoming exhibition at the Museum of Contemporary Art of the Americas, MoCA-Americas, in Kendall.
The case of Alain Pino and Antonio Espinosa is similar; they are two visual producers trained in art academies in Cuba, who participated in the generational will of the nineties, a time when they began their artistic endeavors. Although they should not be considered as the foremost exponents of their generation, as both have been a kind of outsiders who bordered it, without fully participating in its dynamics.
For the past six years, the erstwhile Kendall Art Center —now reimagined as the Museum of Contemporary Art of the Americas— has devoted itself to nurturing a profound dialogue surrounding painting, encouraging a spirit of experimentation and a multiplicity of perspectives. 'Old Friends' exemplifies this fruitful discourse between two maestros of abstract art. This dialogue was sparked by Rigoberto Mena's journey to Boston in 2000, some 23 years ago. Mena, traversing to the United States, participated in the exhibition 'Cuba, Cuba, three contemporary artists', showcased alongside fellow artists Alejandro Lazo and Pango at the Espacio 12 gallery.
I don’t remember when I first met Montoto, but by the time I began to associate with the art world, he was already well-established. It’s been over 25 years now. I later designed several catalogs for him and got to know him personally. At that time, he often worked with art critic Rufo Caballero, who unfortunately passed away at the peak of his career. Rufo told me that Montoto’s entire discourse was based on deep intellectual convictions and that I should not be swayed by appearances, that beyond his almost absolute mastery of technique, there were deep philosophical reflections layered underneath. On another occasion, I also discussed this with David Mateo, the editor of Art Crónica magazine, and also a critic and art curator based in Mexico. He agreed with Rufo that there was a complex theoretical background to Montoto’s seemingly tropical hedonism.
