The Museum's exhibition program presents solo and group shows by local, national, and international artists, prioritizing originality and striving to showcase works from a diverse array of creators. Its goal is to bring innovative contemporary art that transcends borders to South Florida and beyond, connecting communities and broadening horizons.Exhibitions are organized by Jorge Rodríguez (R10), the Museum's director and Chief Curator, and by guest curators from all visual arts. Each one runs for an average of 45 days, with shorter exhibitions of seven to fifteen days being planned in cases where certain works cannot be displayed for the usual period of time.
The "Pop Up Shows" or ephemeral exhibitions are conceived as part of a specific line of projects aimed at presenting as many local artists as possible to the community and offering them exhibition spaces throughout the regular season.
As the title suggests, these extraordinary artists explore the intersectional spaces between the real and the supernatural, where both realms coexist in a productive tension. Throughout the history of thought, humanity has sought to reconcile these two planes: from mythical cosmogonies that explain the visible world through invisible forces to scientific pursuits aimed at elucidating phenomena once considered supernatural. In this sense, Allegories of the Real and the Supernatural can be interpreted as an invitation to rethink our own experiences—the boundaries between what we can know and what remains shrouded in mystery. In the works associated with this title, there is perhaps a suggestion that the mystical is not separate from everyday life but rather intertwined with it, offering new ways of understanding the world.
Ariel Orozco, curator of "El Charco y la Curva," launched the project after finding the Cuban Circle of Mexico A.C., a hub promoting Cuban art and culture, including politically nuanced workshops and events. Seeing a chance for unity among Cuban emigrants across generations, Orozco proposed an abstract art project to foster dialogue without engaging the space's political aspects. This approach allowed artists with diverse creative methods and interests to coexist in a harmonious, reconciliatory exhibition.
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Within the esteemed milieu of Art Basel, the illustrious Bernardo Medina, will grace the Aldo Menéndez Permanent Hall at the Museum of Contemporary Art of the Americas with the presentation of his tome, 'The Sofrito Manifesto', a work that proudly encompasses two volumes. In the foreword of the second volume, dedicated to the cocktails and libations commonly savored in Puerto Rico, Joaquín E. Bacardí III penned: "It is a source of great pride for me to speak on a subject that, within my family, has been woven into the fabric of our daily discourse from a young age..."
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On December 1st, 2023, MoCAA will inaugurate three simultaneous exhibitions. One of these will be "El hombre es una isla," featuring pieces created by Pepe Franco over the last decade. In an article published by Hypermedia magazine in September 2020, Cuban art expert and professor François Vallée remarked in the introduction: "José Franco has been a prominent figure in Cuban art since the 1980s. His artistic practice is prolific and eludes easy classification. As is often the case in what has come to be known as postmodernity (...)"
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On July 7, 2017, the Kendall Art Center (now Museum of Contemporary Art of the Americas) inaugurated "Cuban Slugger," an exhibition by the renowned Cuban artist Reynerio Tamayo. On this occasion, Tamayo expressed that this exhibition was a 'long-standing debt' he felt he owed, as he had participated in various group exhibitions on the theme of baseball but had never held a solo exhibition entirely dedicated to this sport. The project was previously showcased at Galería Habana in Havana and traveled almost in its entirety to South Florida.
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A selection of works from the recent Pop Up Show 'Halando parejo' will remain on display throughout October and extend into November of this year. Additionally, we are introducing pieces previously unseen in our context. Guided solely by the keen interest of a discerning segment of the audience and the museum's intention to share artworks that now enrich its collection, 'Harvest Bazaar' brings together a diverse group of creators. Their oeuvre predominantly centers on the human figure as a sociopolitical subject.
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During the sixth edition of the 2022 FOTOFOCUS BIENNIAL: World Record—the most expansive of its kind in the Americas—the Annex Gallery in Cincinnati unveiled "Cuba Real," a solo exhibition by the esteemed Cuban photographer and documentarian Raúl Cañibano. This Biennial venerates lens-based art and photography, convening artists, curators, and educators from across the globe. The past iteration showcased significant artist commissions and an extensive range of exhibitions, events, and novel projects, all orbiting the theme of World Record. This motif contemplated the vast photographic archive of life on Earth, humanity's imprint on the natural world.
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For Gabriela, painting is a therapeutic endeavor. Often, we encounter emotions that elude verbal articulation, especially feelings determined by nebulous sensations. Yet, these emotions flow seamlessly through the boundless spectrum of hues and gestures. Gabriela dreams, allowing her visions to manifest directly onto the canvas; her strokes dream with her, melding into a singular creative entity. From the canvas emanates a palpable aura of opulence and empowerment. The flourish of her brushwork is not one of timidity, but of audacity. Her palette consistently challenges conventions, rejoicing in genuine primary colors. She regards her abilities as a transcendent power.
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Mónica Batard, presents this exhibition featuring seven female artists and seven male artists. Most, with the exception of Ivonne Ferrer and Milena Gutiérrez, have recently arrived in the US or various European capitals. "Halando Parejo" primarily focuses on the challenges they've faced in integrating into a community that operates under paradigms vastly different from those they've known throughout their lives. It's an exhibition of, one might say, cathartic nature. A significant portion of Cuban art over recent decades addresses political themes. Once an artist leaves the island and their circumstances shift, so too may their interests, and, indeed, the very audience of their art.
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The collection comprises roughly twenty bronze pieces of small to medium scale, crafted over the past two decades. Nurit has always been captivated by the human figure – its malleability, movement, and curvature. She regards the human body as a flawless machine constructed of flesh and bone. However, beyond mere shape, it is the meticulous attention to gesture that has ultimately defined the character of her sculptures. Through this gesture, one can discern their emotions and moods. As attendees will note from the inaugural event, these pieces allow for the appreciation of diverse feelings of many people, who have navigated the ups and downs of life with varying degrees of success.
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The collection comprises roughly twenty bronze pieces of small to medium scale, crafted over the past two decades. Nurit has always been captivated by the human figure – its malleability, movement, and curvature. She regards the human body as a flawless machine constructed of flesh and bone. However, beyond mere shape, it is the meticulous attention to gesture that has ultimately defined the character of her sculptures. Through this gesture, one can discern their emotions and moods. As attendees will note from the inaugural event, these pieces allow for the appreciation of diverse feelings of many people, who have navigated the ups and downs of life with varying degrees of success.
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As we evolve into an increasingly visually-oriented society, the skills to identify and distinguish valuable objects, interpret symbolic meanings, and swiftly organize a deluge of captivating visual stimuli become indispensable. Contemporary education now more than ever requires educators specialized in visuality and, by extension, in the realm of visual arts. The artist-educator has always held a prominent position within the educational profession. Successful art teachers possess the unique ability to grasp the creative process and convey this elusive knowledge to others. Their key skill is inspiring student achievement.
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At first glance, it would seem that the work of Antonio Espinosa and Alain Pino – two visual producers trained in art academies in Cuba, who participated in the generational will of the nineties– 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 MoCAA.
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In recent years, Cirenaica Moreira has frequently delved into the realm of performance art. Since the 90s, Moreira has focused—through the representation of her own body—on challenging the political discourse expressed as yet another projection of toxic masculinity. She analyzes the female body from the perspectives of sexuality, gender, and race. Much of her work as a photographer transports us to dreamlike or unreal contexts where the subject has evolved at its own pace, untouched by the haste and agitation of 'becoming'. Cirenaica's models simply 'are'. On this occasion, the involvement of the audience was crucial.
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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 USA, participated in the exhibition 'Cuba, Cuba, three contemporary artists', showcased alongside fellow artists Alejandro Lazo and Pango at the Espacio 12 gallery.
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The Kendall Art Cultural Center (KACC), dedicated the past six years to the preservation and promotion of contemporary art and artists, and to the exchange of art and ideas throughout Miami and South Florida, as well as abroad. Through an energetic calendar of exhibitions, programs, and its collections, KACC provides an international platform for the work of established and emerging artists, advancing public appreciation and understanding of contemporary art.
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The Rodríguez collection is a blueprint of Cuban art and its diaspora. Within the context of the new MoCA-Americas the collection becomes an invaluable visual source for Diaspora identity. It represents a different approach to art history to try to better understand where we come from to better know where we are heading.
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