Né en 1967, La Havane, Cuba.
Il habite La Havane. Il évoque dans ses photographies, ses installations, ses sculptures, l’esprit complexe de cette ville imaginée comme somptueuse mais aujourd’hui fragile et menacée de ruine. L’artiste construit une cartographie troublante, émotionnelle, et critique qui n’est pas éloignée de la tradition des écrivains voyageurs et des peintres paysagistes du XIXe siècle. C’est dans cet univers mythique que s’est élaborée l’oeuvre de Carlos Garaicoa, Carta a los censores, proposée par Lorenzo Fusi, directeur du Palazzo Delle Papesse Centro Arte Contemporanea de Sienne, et qui a retenu l’attention du Jury du Prix International d’Art Contemporain 2005 de la Fondation.
Expositions personnelles
2005
Self-flagellation, survival, insubordination
Musée d’art Aspen, Aspen, Etats-Unis
Prix International d’Art Contemporain Fondation Prince Pierre de Monaco, Monaco
Capablanca’s real passion
Musée d’art contemporain, Los Angeles, Etats-Unis
Vamos fazer barulho agora, porra! avec Ezequiel Suárez
Galerie Habana, La Havane
Postcapital
Palais de la Virreina, Barcelone, Espagne
Carlos Garaicoa Speaking
Galerie Continua, San Gimignano, Italie
2004
La misura di quasi tutte le cose
Palazzo delle Papesse Centre d’art Contemporain, Sienne, Italie
Expositions collectives
2005
Dialectics of Hope I
Biennale de Moscou, Russie
II Biennale Internationale Sharjah, Emirats Arabes Unis
LI Biennale de Venise, Italie
Sitios distantes : crisis urbana y síntomas domésticos en el arte contemporáneo reciente
Centre Culturel Tijuana au Musée d’art San Diego, Tijuana et San Diego, Mexique – Etats-Unis
Installations publiques
2004
Il cacciatore (El Cazador)
La misura di quasi tutte le cose,
Palais delle Papesse, Sienne, Italie
"This is a project that denounces the destruction of sites created for the images: of course bringing to mind the cinemas of the 30, 40, 50 and 60 who have been abandoned and are now in ruins and forgotten. The set of photographs I made in Havana are witness to this. It is a nostalgic reference to the places that once occupied our daily lives. This is the first part of my job. The second part is the construction of a cinema that I imagined as a model. In this cinema, a list of films that were censored from the beginning of film history is projected onto a blank screen.
To these images of decadence, represented by the photographs of old ruined buildings, the idea of their screens permanently black and their absolute lack of image, opposes the perfection of the model of the new cinema with red velvet chairs, accentuating their empty places ... It is only for us to win a place: not the one to watch, only not to forget."
Carlos Garaicoa
