The H arte

www.thehmagazine.com

ARTISTS
Alvisa (Lidzie)
Arrechea (Alexandre)
Bejarano (Agustín)
Bruguera (Tania)
Camejo (Luis Enrique)
Capote (Ivan)
Capote (Yoan)
Cordero (Raúl)
del Dago (Duvier)
Diago (Roberto)
Francisco (René)
Fuentes (José Emilio)
García (Aimée)
García (Rocío)
Garciandia (Flavio)
Goméz (Luis)
Guerra (Javier)
Leal (Ernesto)
León (Glenda)
Miranda (Ibrahim)
Montes de Oca (Carlos)
Moreira (Cirenaica)
Peña (René)
Pérez (Hanoi)
Ponjuan (Eduardo)
Prieto (Wilfredo)
Ruiz (Aziyadé)
Segura (Esterio)
Vincench (José A.)
HAVANA GALLERIES
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  Flavio Garciandía from The H 00 by Cristina Vives

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FRIJOLES COLORADOS O AD REINHARD EN LA HABANA POR SEGUNDA VEZ AGUA SALADA. UN ROCE CON MARTÍNEZ PEDRO UNA VISITA AL MUSEO DE ARTE TROPICAL
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All in one
The tricky ´style´ of Flavio Garciandía
  Todo en uno
El engañoso estilo de Flavio Garciandía
He is cited in all the bibliographies on modern Cuban Art which is as it should be given his role as ideological leader of a generation (the eighties), for his acute criticism of his own work and for that of his contemporaries and students during the decade when he taught at Havana's Art Institute, for his intellectual stature, his wide culture, his ability to influence and draw together the most dissimilar personalities. Above all though, he is recognised for the incomparable mastery of his works, pictorial in the main, and the conceptual challenge they pose.
Painting is one of the most firmly established traditions of Western Art and Flavio "plays seriously" with it. At the same time, by means of the judgemental titles he gives his works, he adds a certain component that is not to do with painting as such but rather with the official and officious Historiography of Art that takes us from the dimension of the senses towards a reflection and criticism of History of Art and culture itself.
As a conceptual artist he has used whatever tools were of most use to him for the theme of each particular work. The result is that he is one of the most versatile and changeable of Cuban creators according to traditional definitions of ´style´. From the end of the seventies until the present day we can identify as many different ´Flavios´ as themes, schools and artists that he has chosen to ´comment´ on including hyperrealism, kitsch, popular culture, Warhol, Clyfford Still, Marden, Lam, Rothko, Martínez Pedro, Reinhard, Lezama Lima.
In his works, the specific influence itself doesn't matter since the original concept has been transcended by the contemporary artist who takes pleasure in recreating them. Flavio stands for : ¨…the right to allow oneself to be influenced or, for those who are able, to exercise influence over others; and for the right to copy or, for those who are able, to be original.¨.
Perhaps his most clearly defined identity is that his works are ´imitations´, (albeit full of suspicious errors) of originals or of recognisable styles, notably the international abstract movement. At the same time, his work expresses a particular 'Flavio-esque' irony about the role that those styles or artists have played in contemporary art. In Flavio's work, the painting itself is a fact and the quality of painting is excellent. Nevertheless, the painting itself is a fact transcended into concept: a key lesson to be learnt from Art and its History.
Still only 48 years old, Flavio has already made his mark among the footprints of the great. Today. he is enjoying the maturity he has reached and yet still maintains the ability to surprise.
  Es citado en todas las bibliografías que se acercan a la contemporaneidad en el arte cubano. Así ha tenido que ser, por su rol como ideólogo de una generación (los ochenta), por su aguda crítica (consigo mismo, contemporáneos y alumnos durante una década de labor pedagógica en el Instituto Superior del Arte de La Habana), por su talla intelectual, por su vasta cultura, por su capacidad de influir y aglutinar a las más disímiles personalidades…Pero sobre todo, por la incomparable maestría de sus obras (mayoritariamente pictóricas) y el reto conceptual que ellas imponen.
Flavio ¨juega en serio¨ con la pintura, una de las más sólidas tradiciones artísticas del arte occidental; y a su vez, mediante títulos convertidos en sentencias, le adiciona un componente –no propio de la pintura sino de la historiografía oficial y oficiosa del arte– que nos lleva a una dimensión no sensorial sino reflexiva y enjuiciadora de la propia historia del arte y la cultura.
Como artista conceptual ha tomado para su tesis las herramientas útiles en cada caso y por ello ha resultado uno de los más versátiles y mutables creadores cubanos, según la definición tradicional de ¨estilos¨. Desde los finales setenta hasta hoy, podemos identificar a tantos ¨Flavios¨ como temas, escuelas y autores le ha interesado ¨comentar¨ (hiperrealismo, kitsch, cultura polular, Warhol, Clyfford Still, Marden, Lam, Rothko, Martínez Pedro, Reinhard, Lezama Lima...) En sus obras nada importan las influencias, concepto hace tiempo trascendido por el arte contemporáneo, ya que en realidad goza muchísimo de recrearlas. Ha apostado por ¨el derecho a dejarse influir (o a ejercer influencia, para el que pueda)¨, y ¨el derecho a copiar o a ser original (para el que pueda)¨. Quizás su identidad más reconocible sea el que sus obras son una ¨imitación¨ (llena de sospechosos errores) de originales o estilos identificables –fundamentalmente del movimiento abstracto internacional– y a su vez, un inconfundible sarcasmo a ¨lo Flavio¨ del rol que esos estilos y autores han desempeñado en la historia del arte contemporáneo. Con Flavio la pintura –y reitero: la excelente pintura–, es un hecho, pero al mismo tiempo un hecho trascendido a concepto; una lección maestra del arte y su historia. Con sólo 48 años, ha dejado tras sí la huella de los grandes, disfruta de la madurez de hoy y mantiene la capacidad de la sorpresa.
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