Belkis Ayón
1967-1999, Cuba
Intolerancia , 1998
Collograph on cream wove paper
Belkis Ayón
1967-1999, Cuba
Acoso , 1998
Collograph on cream wove paper
Belkis Ayón
1967-1999, Cuba
Fragmento de La Consagración II , 1991
Collograph
Alexandre Arrechea
1970, Cuba
Seagram, 2012- 13
Aluminum
Alexander Apóstol
1969, Venezuela
Color is My Business, 2012- 16
12 digital prints
Eddie Rodolfo Aparicio
1990, United States
Aquellos que apuntan con el dedo medio (11th and union Streets, Los Angeles, California), 2015- 16
Rubber, sulfur, resin, tree and paint residue on cotton
Lester Alvarez
1964, Cuba
La maleza, 2015- 16
Carving and pyrography in recovered wood, in 40 parts
Juan Carlos Alom
1964, Cuba
Luis Morales, 2015
Digital print
Juan Carlos Alom
1964, Cuba
Nacimiento de una tierra, 2010
10 gelatin silver prints
On June 14th, 2024, El Espacio 23 held an Open Studio for its Artists in Residence, Yanelis Mora Morales and Irene Infantes.
Mora Morales is a textile based artist from Cuba who create various scale pieces by sewing togther different cuts of fabric in a geometrical fashion.
Infantes is a textile design artist who specializes in manipulating wool and other natural materials to create unique pieces.
Mequitta Ahuja
1976, United States
Autocartography I, 2012
Acrylic, colored pencil, oil and enamel on paper collage on vellum
Mequitta Ahuja
1976, United States
Autocartography I, 2012
Acrylic, colored pencil, oil and enamel on paper collage on vellum
Miguel Aguirre
1973, Peru
Mi PAíS LiBRE, 2019
Wool
Alina Aguila
1987, Cuba
Un diablillo se pasea por la tierra, 2017
Ink, fabric, acrylic, embroidery sample on cardboard
Alina Aguila
1987, Cuba
Laguna, 2017
Ink, fabric, acrylic, embroidery sample on cardboard
Alina Aguila
1987, Cuba
Clip clap, 2017
Ink, fabric, acrylic, embroidery sample on cardboard
Alina Aguila
1987, Cuba
Adiós en la acera, 2017
Ink, fabric, acrylic, embroidery sample on cardboard
Alina Aguila
1987, Cuba
Se una buena chica, 2017
Ink, fabric, acrylic, embroidery sample on cardboard
Leonce Raphael Agbodjelou
1965, Benin
Borderlands, 2012
C-print on aluminum
Pavel Acosta
b. 1975, Cuba; lives in Miami
Wallscape II, Intervention in the Jorge M. Pérez Collection, 2022
Dry paint chips on sheetrock
Gustavo Acosta
b. 1958, Cuba; lives in Miami
The Day Before, 2006
Acrylic on canvas
Mathias Goeritz (b. 1915, Poland; d. 1990, Mexico)
Mensaje num. 5 Timoteo 6:6, 1959
Perforated tin on velvet on panel
Mensaje num. 5 Timoteo 6:6 is an early example of Mensajes (Messages) series, which the artist initiated in 1958 after the death of his first wife. He referred to these metal pieces, covered in gold-leaf as “material prayers,” describing how the light reflected on their surfaces dematerializes them, like matter being transformed into spirit. Six gold plaques are placed on a red velvet background within this collection work, each displaying sequences of nail-hammered perforations. Five create rectangular shapes and linear compositions, with the remaining piece displaying an angulated serpent form. The latter is a recurrent symbol within the artist’s practice, most famously used in his large metal sculpture El Serpiente, made for his Museo Experimental El Eco in 1953, and influenced by Mexican Pre-Hispanic stone sculptures. Serpents are associated with several Mexican gods, such as Quetzalcoatl (‘Feathered Serpent’), Xiuhcoatl (‘Fire Serpent’), Mixcoatl (‘Cloud Serpent’) or Coatlicue (‘She of the Serpent Skirt’).
Sam Gilliam (b. 1933, United States; d. 2022, United States)
Empty, 1972
Acrylic on beveled-edge canvas
Sam Gilliam (b. 1933, United States; d. 2022, United States)
Baby’s Blue, ca. 1963
Oil on canvas
Ximena Garrido-Lecca (b. 1980, Peru)
Destilaciones V, 2016
Clay and cooper
Ximena Garrido-Lecca (b. 1980, Peru)
Aleaciones con memoria de forma II, 2014
Bronze and reed
A large gold-colored textile by Ximena Garrido Lecca is presented on the gallery floor. Titled Aleaciones con memoria de forma II (Shape Memory Alloys II), the piece is woven from bronze tubes. Bronze is an alloy made from copper and tin. Copper is one of the primary materials mined in the artist’s native Peru, an extractive industry that has had devastating ecological effects and has displaced many rural and indigenous communities. Peru is known for its rich indigenous textile traditions and the complexity involved in their production. Garrido Lecca’s piece becomes a complex portrait of the contemporary political and cultural landscape of Peru, as it tries to negotiate the long-term effects of its dependence on the mining industry.
Ana Gallardo (b. 1958, Argentina)
Niñxs Sicarios, from the series Dibujo textual, 2022
Charcoal and thread on cardboard
Child Sicarios (cartel hitmen)
I committed my first murder at the age of 16
From the shock of see how the torture the snitch, I vomited
They each grabbed a hand and cut it off
Finally we decapitated him.
Bernard Frize (b. 1954, France)
Éventuellement, 1998
Acrylic and resin on canvas
Helen Frankenthaler (b. 1928, United States; d. 2011, United States)
Vanilla, 1978
Acrylic on canvas
Helen Frankenthaler’s 1952 painting Mountains and Sea in the collection of the National Gallery of Art in Washington, is perhaps the work that most directly ties her explorations of abstraction to landscape, with its representational washes of green, pink, and aqua. Vanilla, from 1978 is distinctly more monochromatic than its processor, with its palette staying close to the colors of the organic material and flavor its title references. Golds, browns, and whites move horizontally and vertically across the canvas, applied with a diversity of densities, which range from thin washes that soak into the canvas, to thick globs that sit heavily on its surface. These layers construct the painting’s beautiful play between surface and depth, creating the sensation that we are looking into a clouded vista.