More about...

IRREVERSIBLE'S art Space is a pioneering exhibition platform for projects that transcend the classical art show, including all mediums: small format, large scale installations, theatrical events, mixed media, video projections, massive sculptures, music, live performances & unlimited kids programs.

factory II presents:

Pablo Cano | Catherine Tafur | Alejandro Mendoza
Sinuhe Vega | Ciro Quintana
Yovani Bauta | Lucinda Linderman

OPENING: SATURDAY OCT 16TH 7PM!
6900 Biscayne Blvd Miami, FL 33138
rsvp: norelkysb@irreversiblemagazine.com
www.irreversiblemagazine.com
http://www.youtube.com/watch?v=o8QB3MFz9og

Pablo D. Cano |

St. Barbara on Horse back , Marionette Year: 1984 - 85
Media: Mixed media, coke can, glass , collage, plastic

Pablo D. Cano |

Born in Havana, Cuba in 1961, Pablo Cano was on the last flight out of the country before the Cuban Missile Crisis of 1962. He has since been a resident of Miami’s Little Havana, and is regarded by art patrons and critics alike as one of Florida’s premier contemporary fine artists.
Since childhood, marionettes have fascinated Pablo. At the age of ten, he was mounting elaborate plays for his family featuring puppets constructed of household bric-a-brac. His primary work today continues to center around the marionettes that he fashions from found objects, and the performance pieces he composes to showcase these protagonists.
Cano reveals, “I create a dream world where inanimate objects come to life – springing from my imagination in the Surrealist tradition. But my work is founded on Dada ideals. The Dadaists used chance, spontaneity, and childlike innocence in order to create their statement. Their intention, as is mine, was to break with tradition and painting technique and to return to the elemental basics of art; to start from scratch; to allow the process of imagination to unfold and begin anew each time I create.”
Bonnie Clearwater, Director and Chief Curator, MOCA North Miami observes, “Each marionette is a complete sculpture in its own right that is exhibited in the museum in its inanimate state; but when their creator and grand puppeteer Cano performs them, the figures take on a life force that causes the audience members to suspend their disbelief.” She continues, “It was clear right from Cano’s first productions at MOCA that a truly original artist, who marched to his own drummer, was in our midst. In the 1990’s, at a time when conceptual art dominated the international art world, Cano followed his heart and passion, seeing treasures in garbage and bringing unforgettable characters into existence.”
Cano employs numerous art forms in his work including oil and watercolor painting, fine drawing, charcoal and ceramic sculpture and is accomplished in each of these areas. He earned a MFA from Queens College of the City University of New York in 1985 and has studied and worked in New York, Paris, Baltimore and Miami. The Museum of Contemporary Art (MOCA) in North Miami, Florida has commissioned his work annually since 1997.
Pablo Cano’s work is found in numerous public and private collections internationally including the Museum of Contemporary Art, North Miami, FL; Museum of Art / Fort Lauderdale, FL; Lowe Museum, University of Miami, Coral Gables, FL; Cintas Foundation, New York, NY; Samuel Dorsky Museum of Art, SUNY at New Paltz, New Paltz, NY; The Columbus Museum of Art, Columbus, GA; The Minneapolis Institute of Arts, Minneapolis, MN; Art in Public Places, Olympia, GA; Bacardi, Miami, FL; R.J. Reynolds Company, Winston-Salem, NC; Sagamore Hotel, Collection of Martin & Cricket Taplin, Miami Beach, FL; Rubell Family Collection, Miami, FL.

| Alejandro Mendoza

"I am my own woman" Mixed media drawing on clear vinyl, 2009


| Alejandro Mendoza

I am, by default, the illustrator of my ideas, even though; I seem to lie to myself constantly. Creating is the most “bestial” process of my conclusions. It is the energy of starting something without exactly knowing the actual outcome.
My environments are constants on my aesthetic proposal, which is tied to the parallel need to understand common sense and making my interpretation of it more or less acceptable or understandable. Limiting me to an immutable idea or a permanent line of reasoning would be to deny the logic possibility of responding to my raising impulses.

Creating is the experience of being constantly unsatisfied. When this happens, I should redo and lie to myself again.

Catherine Tafur |

I love you too, Baby, 2006, oil on canvas, 36 x 44 inches


Catherine Tafur |

My works are narratives about defilement and psychological damage. Figures are mutilated, defective, confrontational, perversely hyper-sexualized, and tormented by an unattainable need for connection. Moments of crisis arise upon the realization of the human capacity for violence and the discovery of evil that hides behind normality. Presenting a space in which to ruminate on this dark side of human nature poses the question of how to retain integrity and dignity in the face of trauma.


Yovani Bauta |

Grandfather, oil on canvas, 2010

Yovani Bauta |

Yovani Bauta has exhibited in galleries and museums both nationally (USA) and internationally. he also exhibited extensible in Cuba, during the 70’s, 80’s and part of the 90’s. he taught at the national school of art, in Havana, Cuba. today he teaches painting at Miami Dade College, Interamerican Campus.
His current work, “mapping bodies,” a series of paintings, prints and drawings are currently showing in venues around the united states and Europe.

| Ciro Quintana

"El triunfo del arte cubano" oil on canvas, 2010

| Ciro Quintana
CIRO [quintana] ART
o el lúdico puzzle de la identidad renegociada

Ciro Quintana es un artista cubano (nacido en La Habana, Cuba en el año 1964) de vital importancia dentro de la historia del Arte de nuestro país. Fundador del radical Grupo Puré, junto a Lázaro Saavedra, Ermy Taño, Ana Albertina, y Adriano Buergo, en la segunda mitad de la década de los ochenta; y creador de un “estilo estético neo-pop” que combinaba la apropiación del cómic heroico y el revisionismo neo-historicista de la Pintura. Siendo así, ha expuesto exitosamente y con gran repercusión mediática sus rotundas instalaciones neo-barrocas donde aglutina esculturas, pinturas, dibujos, carteles y objetos en prestigiosos espacios culturales como la Collection Ludwig, en el Ludwig Forum de Aachen, la Stadtische Kunsthalle, de Dusseldorf, o en la 3ª Bienal de la Habana en el Museo Nacional Palacio de Bellas Artes. En el transcurso de más de veinte años de carrera su obra ha evolucionado paulatinamente de forma procesual -sin premuras ni prisas adoslecentes- de una “mirada pseudo-americanista” y politizada a una “mirada nacional-universalista” y poética; evolución que lo dota de cierta distinción dentro del panorama plástico nacional residente en el exilio como un creador único, y lo hace indiscutiblemente heredero directo de creadores del “Pop Histórico Cubano” como Raúl Martínez y Umberto Peña, o lo sitúa como co-protagonista de su presente junto a coetáneo de las nuevas tendencias pictóricas internacionales europeas como Neo Rausch, Frank Ackherman, o Michael Majerius. Hacedor de una obra polifacética y políglota, la cual desde la Pintura intercambia las “reglas del juego” de su identidad nómada; para desde esta negociación, reinventarse desde la observación crítica, el autoanálisis y el reciclaje más barroquizante, una y otra vez.

Omar-Pascual Castillo
Barcelona, España
Invierno, 2010