Alexander Lobaina Jiménez

Alexander Lobaina Jiménez

Holguín, Cuba, 1968

Email: alobaina@gmail.com
Telephone: (+53) 55207698

He is a member of theArtists and Writers’Union from Cuba. He has delivered lessons at the Professional School of Plastic Arts in Holguin province. Inside his professional chore he has worked as specialist and healer in the Provincial Center of the Visual Arts of Matanzas and Holguín. In November, 2016 he carried out an artistic residence in the Foundation Guapamacátaro, Maravatío, Michoacán, Mexico.

Reviews of his work have appeared in cultural periodic and virtual publications on Cuba and the foreign.

At the moment he works as healer and programming specialist in the Provincial Center of the Visual Arts of Matanzas.

Carried out studies.

1980-1983 Elementary School of Plastic Arts, Holguín.

1983-1987 Professional School of Plastic Arts, Holguín.

1987-1992 Degree in Plastic Education. “Enrique José Varona” Superior Pedagogic Institute, Havana.

Main personal exhibitions.

2017   “Tamales, fresas y tequila reposado”.(Tamales, strawberries and rested tequila). Pedro Esquerré Art Gallery, CPAV, Matanzas. Cuba.

           “Azul, rojo y blanco”. (Blue, red, and white). Dominican School of plastic artists, CODAP. Santo Domingo, Dominican Republic.

2016  “La Nueva Relación”. (The New Relationship). Pedro Esquerré Art Gallery, CPAV, Matanzas. Cuba.

           “Sinergia o la terapia infinita”.(Synergy or the infinite therapy). National Museum of the Republic, Brasilia. Brazil.

2015   Men grow breasts.UNEAC Provincial Headquarters, Holguín. Cuba.

2014   “Fervor de Cuba II”. (Fervor of Cuba II). SET Gallery, Evangelical Seminar of Theology, Matanzas. Cuba.

2013   “Memorias de Período Especial II”.(Memoirs of Special Period II). UNEAC Provincial Headquarters Gallery. Matanzas. Cuba.

           “Zona de Defensa”. (Defense Area). Cristo Salvador Gallery. Havana. Cuba.

2011   “Sinergia II”. (Synergy II).Parakeet Art Gallery, Matanzas. Cuba.

2010   “Sinergia o terapia sin límites”. (Synergy or limitless therapy). Art Gallery, Sol y Mar Hotel. Varadero, Matanzas. Cuba.

2007   “Memorias de Periodo Especial”. (Memoirs of Special Period). Happy Christ Gallery, UNEAC, Holguín. Cuba.

           “Level Complete”. Cárdenas Art Gallery, Matanzas. Cuba.

2006   “GREEN LEWITT”. Pedro Esquerré Art Gallery, CPAV, Matanzas. Cuba.

2005   “De la historia de una gloriosa experiencia”.(The story of a glorious experience). Provincial Center of Visual Arts, Matanzas. Cuba.

           “De la seducción del poder”. (The seduction of power). Art Gallery, Colón, Matanzas. Cuba.

2004   “Pinturas”. (Paintings). Hotel Melia Varadero Gallery. Varadero, Matanzas. Cuba.

2003   “Construyendo la Utopía del Héroe Cotidiano”. (Building the Daily Hero’s Utopia) (with Javier Díaz). Provincial Center of Plastic Arts, Holguín. Cuba.

2002   “Homenaje a Pual Klee”. (Tribute to Paul Klee). FCBC Gallery, Varadero, Matanzas. Cuba.

           “Tema del traidor y el héroe”. (Traitor and hero’s theme). Provincial Center of Visual Arts, Matanzas. Cuba.

1999   “Todo tipo de cabello”. (All type of hair) (with Rubén Hechavarría). Pharmaceutical Museum, Matanzas. Cuba.

1998   “El todo cotidiano”.(The daily whole). Fausto Cristo Gallery. UNEAC, Holguín. Cuba.

           “Haciendo Historia, sin Concesiones”.(Making History, without concessions) (with Rubén Hechavarría).Ibero-America House, Holguín. Cuba.

1996   “Eros, Thanatosy la filantropía”. (Eros, Thanatos and the philanthropy).Provincial Center of Design and Plastic Arts, Havana.

           “Memorias del día de Antes”. (Memoirs of the day of Before). Development Center of Visual Arts, Cienfuegos. Cuba.

1994   “EvidenciaTópica”. (Topical Evidence). Art Gallery, Sol y Mar Hotel. Varadero, Matanzas. Cuba.

           “Yoo-Hoo! Un grito al Arte”. (Yoo-Hoo!A scream of Art). Fayad Jamís Gallery. Alamar, Havana. Cuba.

           Good Morning…Malevich!.Electa Arenal Room, Provincial Center of Plastic Arts, Holguín. Cuba.

1993   Post Realismo“.(Post Realism) (with Néstor Arenas). Transitory Gallery, La Periquera Provincial Museum, Holguín. Cuba.

           Fervor de Cuba“.(Fervor of Cuba). Provincial Center of Plastic Arts, Holguín. Cuba.

           “Se busca vivo o muerto”.(Wanted dead or life). Universal Art Gallery, Santiago de Cuba.

1992   Big Painting (with Alejandro Mendoza). Provincial Center of Plastic Arts, Holguín. Cuba.

1990   “Retórica”. (Rhetoric). Engraving Workroom, Holguín. Cuba.

1987   “Paisaje, homenaje a Lezama Lima”. (Landscape, a tribute to Lezama Lima). Professional School of Plastic Arts, Holguín. Cuba.

1989   Tradición y contemporaneidad. (Tradition and contemporaneity). Art Gallery, Matanzas. Cuba.

Main collective exhibitions.

2018   O Tempo de Nossas Vidas”.(The time of our lives).Latin America Culture Institution. Brasilia, D.F. Brazil.

           “La Caza Invita”. (The Hunt Invites). Pedro Esquerré Art Gallery, CPAV, Matanzas. Cuba.

2017   “Con D’ Dibujo”. (With D’ Drawing). Provincial Center of Plastic Arts, Holguín. Cuba.

2016   The benefits of domestication. Space 34 Gallery, Varadero, Matanzas. Cuba.

           “Horizontes da Arte na América Latina e Caribe”. (Horizons of Art in Latin America and Caribbean). CCBB, Brasilia. Brazil.

           The Many Faces of Fidel. Cuban Art Space, NYC, New York. United States of America.

           “Con D’ Dibujo”. (With D’ Drawing). Room No. 1. “Oscar Fernández Morera”Art Provincial Gallery. Sancti Spíritus. Cuba.

           “Alegorías proféticas y otras aberraciones”. (Prophetical legories and other aberrations). Guapamacátaro Foundation. Maravatío, Michoacán. Mexico.

2015   Vision Interior. (InnerVision). Hotel Pernik. Holguín. Cuba.

           Arte soy. (I’m art). Tribute to José Martí. UPEC Headquarters, Havana. Cuba.

2014   “Muestra Pictórica Holguin-Brazil”. (Pictorial Sample Holguín-Brasil). Pernik Hotel. Holguín. Cuba.

           Arte soy. (I’m art). Tribute to José Martí. House of the Cultural Dawn. Havana. Cuba.

2013   De donde crece la palma. (Where the palm grows). Tribute to José Martí. Esteban Chartrand Gallery. UNEAC Provincial Headquarters, Matanzas. Cuba.

           Arte soy. (I’m art). Tribute to José Martí. House Museum of the Bicentennial. Buenos Aires. Argentina.

           Km 100. Art Museum of Matanzas. Matanzas. Cuba.

           “Retorica del Neo-Post”. (Rhetoric of the Neo-Post). Holguín Gallery, Holguín. Cuba.

2012   Homenaje a José Fundora“. (Tribute to José Fundora). UNEAC, Esteban Chartrand Gallery, Matanzas. Cuba.

2011   “Rutas y Andares”. (Routes and Travelings). Art Gallery, Sol y Mar Hotel. Varadero, Matanzas. Cuba.

           “Muestra de apertura”. (Sample of opening). UNEAC, Esteban Chartrand Gallery, Matanzas. Cuba.

2010   “Pinturas”. (Paintings). Art Gallery, Sol y Mar Hotel. Varadero, Matanzas. Cuba.

          “Arquitectura Ingrávida”. (Weightless Architecture). Development Center of the Visual Arts, Havana, Cuba.

          “Del Pensamiento a la Imagen”. (From the Thought to the Image). Tribute     to José Martí. Bonifacio Byrne Culture Institution Gallery. Matanzas. Cuba.

2009  Just Time.Provincial Center of Visual Arts. Matanzas. Cuba.

          “El Camino más Corto”. (The Shortest Path). Provincial Center of Visual Arts. Matanzas. Cuba.

          “V encuentro internacional de poesía visual”. (V international encounter of visual poetry). Andrés Bello National House of the Letters. Caracas, Venezuela.

2008  Game Over. Polyvalent Room, Provincial Center of Visual Arts. Matanzas. Cuba.

2007  “Soplos al Espacio”. (Blows to the Space). José Lezama Lima House Museum. Havana. Cuba.

          “Segunda Muestra UNEAC”. (UNEAC Second Sample). UNEAC Provincial Headquarters Gallery, Holguín. Cuba.

2006  Cuba de Fiesta.(Cuba on Party) Art Gallery, Sol y Mar Hotel, Varadero, Matanzas. Cuba.

          “Calles Paralelas”. (Parallel Streets). Mariano Rodríguez Gallery, Panamerican Village, Havana. Cuba.

          La Cruzada“. (The Crusade). Artistic Cultural Project. Electa Arenal Room, Provincial Center of Plastic Arts, Holguín. Cuba.

          Homenaje a Yves Klein. (Tribute to Yves Klein). Provincial Center of Visual Arts. Matanzas. Cuba.

2005  Opening Exhibition of Havana Art Gallery. Lancashire, England.

2004  Havana online auction. Galiano Gallery, Havana City. Cuba.

2003  “El Paradigma y las Nueces”. (Paradigm and the Nuts). Provincial Center of Visual Arts. Matanzas. Cuba.

          “Imagen y Secularidad: Homenaje a José Martí“. (Image and Secularity: Tribute to José Martí). Provincial Center of Visual Arts. Matanzas. Cuba.

          “Operation Mankind”. Kunstkabinett, LBK, Hamburg, Germany.

          “Homenaje Detenidos Desaparecidos”. (Detainees MissingsTribute). Temuco, Chile.

          “150 Cartulinas a Martí”. (150 Cardboards to Martí). Provincial Center of Visual Arts. Matanzas. Cuba.

2002  “Papeles de Cuba”. (Papers of Cuba). (Ten artists from Matanzas). Latin-American Art Museum. Pomona, Los Ángeles, E.U.

          “Bordeando”.(Hedging). Provincial Center of Visual Arts. Matanzas. Cuba.

2001  “Piense Aquí”. (Think Here). Río Claro, Sao Pablo, Brazil.

 “Crea(c)tive & Fantastic”. International Mail Art Show. D’Arte di Pisa Academy. Italy.

          “¿Estamos en la Nubes…?”. (Are we in the Clouds…?). Zenón’s Workroom, Sevilla, Spain.

          “Homeless”. International Mail Art Projects. Willy Brandt Haus, Berlin, Germany.

          “Ángeles Asolados”. (Razed Angels). Cultural Center “Les Chiroux”, Lieja, Belgium and in “Ontmoetingscentrum’t Ghelandt”, Menen, Flanders.

2000  “Cruces de la Tierra”. (Crosses of the Earth). Contemporary Art Museum, Santiago de Chile.

          “La Canción del Siglo XX”. (The Song of the XX Century). Provincial Center of Visual Arts. Matanzas. Cuba.

          “Del San Juan al Yumurí”. (From the San Juan to the Yumurí). Hotel Meliá Varadero Gallery, Matanzas. Cuba.

          “Carnival”. International Mail Art Show. Massaciuccoli, Massarosa-LU Civic Museum, Italy.

          “Novel Peace Project”. Windsor, Ontario and Ottawa, Canada.

          “OnlyPersonal Things”. Rio Claro, Sao Pablo, Brazil.

1999  “Mi Cabeza y Yo”. (My Head and Me). Art Museum, Matanzas. Cuba.

          “Reencuentros”. (Reencounters). Art Gallery, Sol y Mar Hotel, Varadero, Matanzas. Cuba.

          International Exhibition of Mail Art. Pilgrimages of May. Alex Urquiola Provincial Library, Holguín. Cuba.

          “Iberoamérica: Tradición, Modernidad y Postmodernidad”. (Ibero-America: Tradition, Modernity and Postmodernity). (International Exhibition of Mail Art). 7th Party of the Ibero-American Culture. Provincial Center of Plastic Arts, Holguín.

          “Babel: la Torre Cubana”. (Babel: the Cuban Tower). Polytechnic University of Barcelona, Spain.

          “ECO-ART”. (ECHO-ART). Cuban Artistic Paper. Hasselt, Belgium.

          “Arte Postal hacia el Nuevo Milenio”. (Postal Art towards the New Millennium). Oaxaca Museum of Filatelia, A.C. Mexico.

1998  “Hoy no soy de mi yo, soy del ajeno”. (Today I’m not mine, I’m some else’s). Small Saloon, Provincial Center of Plastic Arts, Holguín. Cuba.

          “Limpiando Libertad”. (Cleaning Freedom). Small Room, Provincial Center of Plastic Arts, Holguín. Cuba.

          “Diez visiones del paisaje”. (Ten visions of the landscape). UNEAC Institution, Holguín. Cuba.

           Workshop Exhibition of Manufactured Paper of Holguín. Ambos Mundos (Both Worlds) Hotel, Havana.

          “STOP”. Museum of Contemporary Art and University of Chile. Santiago de Chile.

          “Who’s Clemente Padín?” Montevideo, Uruguay.

          “Sabor del Trópico”. (Flavor of the Tropic). Silver Spur Gallery. Development Center of Visual Arts, Havana. Cuba.

1997  “Los que ya no están”. (Those that are not here). AlternativeRoom, Provincial Center of Plastic Arts, Holguín. Cuba.

          “How the hell do you pronounce Malevich”. Cuban Fund of Cultural Goods, Holguín.

          “All we need is Love”. Provincial Center of Plastic Arts, Holguín. Cuba.

          “Proyecto Paisaje 1”. (Project Landscape 1). House Gallery of Ibero-America, Holguín. Cuba.

1996  “La Vocación Unívoca”. (The Unequivocal Vocation). Provincial Center of Visual Arts. Matanzas. Cuba.

          “Amor sin Fronteras. Prólogo para un Proyecto sin Límites”. (Love without Frontiers. Prologue for a Project without Limits). Ibero-America House Gallery, Holguín. Cuba.

         “Retorica de la Metáfora I. Ensayo para una Antología”. (Rhetoric of the Metaphor I. Rehearsal for an Anthology). La Periquera Provincial Museum, Holguín. Cuba.

         “Im Memorian Guillermo Deisler”. (Guillermo Deisler in Memoir) Juan Egenau Room, Arts Faculty, University of Chile. Santiago de Chile.

1995  International exhibition of Mail Art.Palace of Fine Arts, National Museum. Havana. Cuba.

          “Imagen y Secularidad”. (Image and Secularity). Tribute to José Martí in Centennial to his Dead. Polyvalent Room, Provincial Center of Visual Arts, Matanzas. Cuba.

          International Exhibition of Mail Art. Gener y del Monte Librery, Matanzas. Cuba.

          “Didáctica del Otro”. (Didactics of the Other One). Latin America Gallery   House, Holguín. Cuba.

          “Didáctica del Otro II”. (Didactics of the Other One II). Polyvalent Room, Provincial Center of Visual Arts. Matanzas.

          “Cruzada San Jorge”. (San Jorge Crusade). Expo Itinerant of the A.H.S.,UNEAC Gallery, Matanzas. Cuba.

1994   ContemporaryPlastic of Holguín. Meson de la Villa, Monterrey, N.L. Mexico.

           “We Love Indiana”. Small Room, Provincial Center of Plastic Arts, Holguín. Cuba.

           “Diez del Pop al Post”. (Ten, from Pop to Post). Polyvalent Room,   Provincial Center of the Visual Arts. Matanzas.

           “Donde las Sombras Temen Andar”. Where the Shadows Fear to Walk.  Creative Young Man’s Gallery House, Santiago de Cuba. Cuba.

           “Espacio para el Humor”. (Space to the Humor). Provincial Center of Plastic Arts, Holguín. Cuba.

1993   “San Valentín: Aparación II”.(San Valentine: Apparition II).The Dark Room Gallery, Holguín. Cuba.

           “29 Artistas Jóvenes”. (29 Young Artists). Electa Arenal Room, Provincial Center of Plastic Arts, Holguín. Cuba.

           Contemporary Plastic from Holguin in Monterrey. Cultural Center Gallery of Monterrey, N.L. Mexico.

           “Diecisiete en un Arcoíris Dorado”. (Seventeen in a Golden Rainbow). Electa Arenal Room, Provincial Center of Plastic Arts, Holguín. Cuba.

“Elogio del Alba”.(Praise of the Alba). Provincial Center of Plastic Arts, Holguín. Cuba.

1992   “Todos Abstractos” (All Abstracts). Provincial Center of Plastic Arts. Holguín. Cuba.

           “NEO-POST. Un Realismo Relativizador”. (NEO-POST. A Relativizing Realism). Provincial Center of Plastic Arts, Holguín. Cuba.

1990   Opening Exhibition. Provincial Center of Plastic Arts, Holguín. Cuba.

“Colecciones de pequeñas cosas”.(Collections of small things). The Dark Room Gallery, Holguín. Cuba.

           “Texto con Contexto”. (Text with Context).The Dark Room Gallery, Holguín. Cuba.

           “Género Paisaje”.(Landscape Gender).The Dark Room Gallery, Holguín. Cuba.

           “Interiores”. (Interiors). IV Collateral Exhibition. Biennial of Havana, Development Center of Visual Arts, Havana. Cuba.

1991   “La Ciudad”. (The City). The Dark Room Gallery, Holguín. Cuba.

1989   “Religión: propuestas y reflexiones”. (Religion: proposals and reflections). “Enrique José Varona” Superior Pedagogic Institute, Study House, Havana City. Cuba.

          “No Tiene Nombre”. (Without Name). Culture House, Holguín. Cuba.

Saloons

2018  325 Saloon. Pedro Esquerré Art Gallery, CPAV, Matanzas. Cuba.

2017  Leopoldo Romañach Landscape Saloon. Space 34Gallery, Varadero,

          Matanzas. Cuba.

2016  “Roberto Diago” XXV Provincial Saloon of Plastic Arts, Provincial Center of Visual Arts. Matanzas. Cuba.

          UNEAC Winter Saloon. UNEAC Provincial Headquarters, Matanzas. Cuba.

2012   “Roberto Diago” XXI Provincial Saloon of Plastic Arts. Provincial Center of Visual Arts. Matanzas. Cuba.

2011   UNEAC Winter Saloon. UNEAC Provincial Headquarters Gallery, Matanzas. Cuba.

Awarders Saloon, “Roberto Diago” XX Provincial Saloon of Plastic Arts, Provincial Center of Visual Arts. Matanzas. Cuba.

           Christian religious art saloon: La Caridad nos une, (The Charity unifies). ACAA Gallery Headquarters, Matanzas.

           X UNEAC Winter Saloon. Provincial Center of Visual Arts. Matanzas. Cuba.

           Awarders Saloon in UNEAC Saloons. UNEAC Provincial Headquarters Gallery, Matanzas. Cuba.

2010   “Roberto Diago” XIX Provincial Saloon of Plastic Arts, Provincial Center of Visual Arts. Matanzas. Cuba.

2008   UNEAC 3rd Winter Saloon. UNEAC Provincial Headquarters Gallery,  Matanzas. Cuba.

2007   Memoirs Saloon. UNEAC Provincial Headquarters Gallery, Matanzas. Cuba.

           Summer Saloon. UNEAC Provincial Headquarters Gallery, Matanzas. Cuba.

2002   Drawing National Saloon. Provincial Center of Visual Arts. Matanzas. Cuba.

2000   IV Plastic Arts Saloon “International Varadero”, International Hotel Gallery, Varadero, Matanzas. Cuba.

           II Art Mail International Saloon. Historic helmet, antique Yellow House, La Victoria, Edo. Aragua and Faculty of Veterinary Sciences, Central University of Venezuela.

1999   AHS National Saloon. Provincial Center of Visual Arts. Matanzas. Cuba.

           National Saloon of Small Format. Provincial Center of Plastic Arts, Alternative Room. Holguín. Cuba.

1995   1st Saloon of Contemporary CubanArt. Palace of Fine Arts,National Museum. Havana. Cuba.

1994   Bacardí Proyect, Saloon Landscape. Santiago de Cuba, East Gallery. Cuba.

1992   V Centennial Territorial Saloon. Provincial Center of Plastic Arts, Holguín. Cuba.

1990   V Provincial Saloon of Plastic arts, La Periquera Provincial Museum, Holguín. Cuba.

           Award of the City VI Saloon. La Periquera Provincial Museum, Holguín. Cuba.

1987   Award of the City Saloon, Moncada Room, Holguín.

           Holguín Plastics.Creative Young Man’s House, Havana.

           Graduates’ Saloon. Professional School of Plastic Arts, Holguín.

1984   1st Provincial Saloon of Plastic Arts, Moncada Room, Holguín.

1983   Plastic Arts National Saloon of Art Schools students. Palace of Fine Arts, National Museum. Havana.

Biennial.

2016   Bienal das Artes. (Biennial of the Arts). Sesc, Brasilia, DF, Brazil.

Collections.

He has works, in public and private collections, in Cuba and countries like: United States of America, Mexico, Colombia, Ecuador, Venezuela, Chile, Brazil, Argentina, Spain, France, Germany, Italy, Holland, Dominican Republic, England, Russia, Angola among others.

Awards and Mentions.

2016   Honorary mention. Bienal das Artes. (Biennial of the Arts). Sesc, Brasilia, DF, Brazil.

2007   First Award, UNEAC Memoirs Saloon. Matanzas. Cuba.

           First Award, UNEAC Summer Saloon. Matanzas. Cuba.

1999   Award, Provincial Saloon of Plastic Arts. Holguín. Cuba.

           Award, UNEAC Provincial Saloon of Plastic Arts. Holguín. Cuba.

1996   First Award,”Leopoldo Romañach” Landscape Saloon. Varadero, Matanzas. Cuba.

1995   Mention,”Roberto Diago “IV Provincial Saloon of Plastic Arts. Matanzas. Cuba.

1992   Award, VII Provincial Saloon of Plastic Arts. Holguín. Cuba.

1985   Award. The Literature in Plastic, Saloon.Professional School of Plastic Arts, Holguín. Cuba.

1984   Award and Mention. The Literature in Plastic, Saloon. Professional School of Plastic Arts Holguín. Cuba.

1983   Award of Engraving. Plastic Arts National Saloon of Art Schools students. Havana City. Cuba.

Read More

Critical analysis of his ouevre.

BRIDGE OVER TURBULENT WATERS.

London bridge is falling down, falling down.The weather, the rain, the wheels marking the weight ofvehicles, plus the gravity law…All the stimulants of the painting are equally valid. Not even a theme is arid. The painting is always stronger appearing as a fact or somethingunavoidable, never seeming like a memory or an arrangement (R. Rauschenberg, 1960). In a postmodern attitude, starting with the formal conventions and the Pop-Art budgets, Lobaina tries to make us see the visual context: kitsch, slogans, announces, emblems, popular imagery (ornamental and political-ideological). He makes us find andformally reorganize ourselves, in rhetorical games, the transcendence of what he calls an urban or citywide folklore. Pop-Art significances, of the moment, are called to be disappear – a gender of things is always ephemeral like this – and Pop-Art takes advantage of these significances, that are thought not to last, only to distract the spectator from the truest content of the work (R. Lichtenstein 1963).

In the British magazine “The Illustrated London News” (June 26 of 1969), when we were celebrating the XVI Anniversary of the Moncada Attack, a columnist pointed out the first exhibition of Pop-Artin England, in Hayward Gallery, and he wrote that Pop-Britishassumed dailiness as a help to its intern dialogueabout what the art was, the problems of shape and color were differentthan North-American’s, they assumed in a direct way, the ephemeral and permanent imagery of the urban environment. This columnist established that British were less submitted to the shellfire of propaganda. But Lobaina disagrees with that definition or another. He has fundamentally used the iconography of North-American’s pop. Because of thelevel of manipulation and rhetorics, Lobaina was better registered in the British tendency. He is the artist who truly gives light to his work. Arehis strong ideas,the ones, he tries, by all possible means, to express (J. Dine, 1963).Pop-Art is a turn to the commitment in the current world (R. Indiana 1963).

Lobaina proposes its assimilation of the immediate context and therefore, its vision. Is not simple jointing of his problems with legitimated resources by the art history. The result of this rhetorical, morphological and formal handling, it is not the creation of symbols, but of associative metaphors that are reverted in ideological conceptualizations. Concrete references, periodical series, absurdity promotion and the missingness, are the support of this artist’s speech. The world is located in the outside. There is where the world is. Pop-Art is guided towards the world (R. Lichtenstein 1963).A pictorial work hasa feeling only while beginning and endingare coexisting inside the canvas.A work is finished when it explains itself (A. Jones 1963).

Alexander admits that it’s all about removing the expectations of the receptor. Just as in the anatomy of man everynation must have its hind part (Indiana 1965). And the world. And Alexander portrays its obsessions: his leader, hiscity, the propaganda in which he has grown up and his hours keep going on,along with everyone’sbad taste. His art is in his works and he is in the outside. It will come the occasion, in which someone will give an interpretation ofhis work, that will change the significance thought by his creator. The work is not nowan intention, but an object, seen by the artist and the answer, that anyone that contemplates it, gives (J. Johns).

Ramón Legón Pine, Critical of art

(Words to the catalog, exhibition Fervor of Cuba, CPAP, Holguín 1993).

 

THE ART OF KEEPING DISTANCE, OR THE CAUTION STRATEGY.

The ideological tale of the artistic promotions of the 80’s in Cuba, were marked by a transcendent will, that responded to the authoritarian design of the political world, from a non-less totalitarian speech, that in his redeeming project played with very similar weapons to the rhetorical diana. Then the transfigured cynicism came, the tropological modeling that by the elliptic oddness, entertains and manipulates in a subtler way.

Alexander Lobaina’soption is, however, another one. Within him the deconstruction of the political sophisms appears far away from seeking a dissocialized postulation and again interested in theprecision ofthe paradigmatic. Alexander’s strategy seemed like a critical revision of virtual emancipations of neo-utopiasof the competitor speech, actually in the measure that means the emblematic, risking associations revealing deliberate manipulations of the history, in fact itstands up in an entire legitimizedapparatus that is finally shown in emptiness, in resonance, in subterfuge, in an illusion.

The unbearable levity of his irony, maybe undressing the axiological mechanism, internally common, of all the similar rhetoric, better or worse articulated in his sketch of the right. In particular, his workdisables the simplistic union of art and the politicsthat intoxicated the 60’s of a futurist triumphalism, and the fact that he makes it from a poprevising; precisely it shoots the deconstructed senseof the prodigious decade of the greatest tales.

With him the insomnia for the ideological symbolizations so prodigal in the 80’sis prolonged, but through a grief that when becoming aware of the void, out of frustrating and soothing nothingness, it confirms thematurity and incites us to disbelieve the artifices knitted with high verb. And it is not that it turns us definitively skeptical, but rather it contaminates us of their thickness, of their perspicacity and, in definitive, of its eternal doubts that is, until today, the only way to consent to knowledge. A little for thinking,then I believe and for that reason I paint. If not, it is not worth existing, I mean, to vegetate.

He is an unmaker of deceiving virtualities. We, at most, a couple of thirsty accomplices of the caution that drives to certain.

Rufo Caballero

Art Critic

(Words to the catalog, exhibition Eros, Thanatos and the Philanthropy. Provincial Center of Plastic Arts and Design, City of Havana).

 

From the surrealism to our days, all unusual encounter or that it seems to be, produces a different meaning. The combinatorial attitude extends, in the art, the implicit codes in the products and tendencies of the expression that have been integrated. And when the sum in question threads diverse times and it penetratesin two or three sense fields, then the results can open up – like a fan – and to place usbefore a seemingly unconnected group of languages, ideas and principles.

Alexander Lobaina assumes, in the image and not with those already conventional matter and gender mixtures, a combinatorial defined position. The poster, of so marked presence in the best of the visual culture of the 60’s, and with long history of clamor and entropy in our social life, it becomes in their terrestrial making of combinations that resurrect the pop iconography, and they transform their visions into keys for a series of compositions – posters “decartelized” – that connect several symbolic complexes: the commercial publicity, the comics and magazines illustration, the indirect ways of the nonverbal communication, metaphoric systems and the symbols of the political existence.

His operations with the help of images started up to the history of art, of figural references to power and “historical over willingness”, of evocations of the misunderstanding character that not few times it has modified thevalidity of Martí, they allow us a type of reception of the artistic things that transcends evidences, penetrate in discursive encounters, and accept the same act of censorship – as old as the creative imagination -in incentive quality for the exercise of the simulation and the politextuality. It is, in their case, of anartist that gathers several stories in a discontinuous, but constant, line, where the humor and the information, the parable and the “probabilistic game with the series”, establish a space of certainty on the “Kingdom of those ambivalences.”

Manuel Lopez Oliva

Plasticartist and art critic

(Words to the catalog, exhibition Eros, Thanatos and the Philanthropy. Provincial Center of Plastic Arts and Design, City of Havana).

 

RAINING OVER LOBAINA

This exhibition cannot escape from the claw of Alexander Lobaina. His speech (unique and consecutive) organizes from their fixed place. Unchangeably changeable. It is the frozen landscape who dictates. Now the relations of force expand his visualities to the signs of the sex.

His speech has concentrated basically on a study of the utopia and its range of significant, makingemphasis in the use and appropriation of symbols of the universal and local that attack the concentration of the human thought.

His figuration (simplified figurations that pursue us in the world and everywhere) is organ oforgans that impacts in the organization – disorganization the man has been imposed.

Alexander always compartmentalizes and enunciates. But here the value of the comic is transgressed, it breaks consciously the continuity by the force that lies in the sum of all the compartments (texts, images, symbols of the color, etc.). Their mosaic more than to agglutinate breaks down: it announces the onewitches’ Sabbath. But it also appropriates of a thinking and sharp making fun of everything.

The graphic thing, extracted of the external world it is sifted in the cloth of the ironies, it is simplified in its complexity, it acquires an otherness of the subliminal things, it becomes said, bled and reasoned verse.

Is in his art,there is a manufactured metaphor and it’s not aboutimprecisions of the collage, but on the meditatedsymbolic reunification of texts and images, and the multiple expression that these unique andinfinite elements exercise with each other and on each spectator.

Each work of this sample is a conclusion itself; the sample in its entirely, just the opposite: an opening to multiplications.

Rolando Estevez

Plastic artist and art critic

(Words to the catalog, exhibition Fears of the Traitor and the Hero, Gallery Pedro Esquerré, C.P.To.V. Matanzas)

 

The work of Alexander Lobaina is sustained in a kindred visuality to the propagandistic system and ofpopularization, debtors as much as the pop-art as the conceptualism.

The pop thing is assumed to the use of brilliant colors, in their case with the resignification of green and red as contrast – felt also present in the speech -, like differentiated contrast but not excluding, and the apprehension of the design of popularization of the graph. On the other hand, the conceptual thing supposes theappearance of the text like semantic universe that proposes relating citationals with those who structurehis speech.

The homogeneous apparent visuality constitutes by itself an irony to the strategy of the structural systems, that turns and questions the banality of these diffusion means; at the same time, it invests with thissense as subterfuge of an 80′ speech in essence, that propitiates the connotation of thedifference after the appearance of the seriation.

This difference or innovation, like Humberto Echo said, will be given in working of certain semantic springs present in the significant one. The opposition of elements that make reference to differentcultures (contrary by nature) conform a metatext that suggests the presence – disturbing – of the prototext, significance recontextualized in the two-dimensional space of their cloths and it proposes the intertextual search, that is, the subversion of the symbol.

Lobaina appropriates of the whole system specifically graphic of the propaganda and the consumption of the pseudocultural and the eminently kitsch, to oppose and to juxtapose these products like visuality of social and culturalconflicts.

The ludic is assumed from the structural strategy of its speech configuring an universe in which he questions and parodies the diffusion systems in a hedonist and intellective pleasure that not only promotes thecitacional. The game of making to converse andto converge elements conflicting transvestite his work of oneparanoia that intensifies the sense of the dramaticas mechanism of a regular spectator manipulation.

Helga Montalbán

Healer and Art Critic

(Words to the catalog, exhibition BUILDING THE DAILY HERO’S UTOPIA, I Center Provincial ofthe Visual Arts, Holguín 2003).

 

In this occasion, Alexander Lobaina presents a pictorial group that seeks to begin an intelligent dialogue with active spectators. Under the premise of provoking and seducing the public by means of symbols and texts that interlinked the Cuban reality and the history of the art, the artist mixes current concepts like post-truth and post-criticism with traditional elements of the Pre-Colombian Mexican culture.

Although each work possesses its own speech, these harmonize in a single voice, under the uniformity of the green color. Hard edge, American Pop art and psychedelia, as well as other elements of the counter culture; it forms part of the amalgam of references that they suppose, at the same time, multiple readings. These posters “decartelized ” (definition given by the artist and critical of art Manuel López Olive to their work) they characterized for the mapping and intensity of the color, with the marked intension of capturing the attention of the public.

The texts in Spanish and English, in occasions they complement and support the image, in others, they created a sore of quarrel that leads to entropy, never beingother in each case the irony.Beyond the underlying hedonism, the sample seeks, stimulates the thought.

Diana Rosales Pla.

Journalist and Art Critic

Words to the exhibition Tamales, Strawberries and Rested Tequila. Center Provincial of the Visual Arts,

Matanzas, Cuba, April-May of 2017

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