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拍品 67|OUTSIDE CUBA INSIDE: PROPERTY FROM THE FARBER COLLECTION OF CONTEMPORARY CUBAN ART
LOS CARPINTEROS (1992-2018)
Faro tumbado
已结束2023年10月5日
成交价
USD 20,160
更多信息
LOS CARPINTEROS (1992-2018)
Faro tumbado
signed, dated and titled 'Los Carpinteros, La Habana 2004, Faro tumbado' (lower edge)
watercolor on paper laid on canvas
52 x 78 ¼ in. (132 x 198.8 cm.)
Executed in 2004.
Faro tumbado
signed, dated and titled 'Los Carpinteros, La Habana 2004, Faro tumbado' (lower edge)
watercolor on paper laid on canvas
52 x 78 ¼ in. (132 x 198.8 cm.)
Executed in 2004.
LOS CARPINTEROS (1992-2018)
Faro tumbado
signed, dated and titled 'Los Carpinteros, La Habana 2004, Faro tumbado' (lower edge)
watercolor on paper laid on canvas
52 x 78 ¼ in. (132 x 198.8 cm.)
Executed in 2004.
Faro tumbado
signed, dated and titled 'Los Carpinteros, La Habana 2004, Faro tumbado' (lower edge)
watercolor on paper laid on canvas
52 x 78 ¼ in. (132 x 198.8 cm.)
Executed in 2004.
Acquired directly from the artist by the present owner.
“I think our first piece was the collaboration itself,” reflected Marco Castillo, one of the three founding members of the collective Los Carpinteros, with Dagoberto Rodríguez and (until 2003) Alexandre Arrechea (quoted in E. M. de Wachter, Co-Art: Artists on Creative Collaboration, New York, 2017, p. 40). Students of René Francisco at Havana’s Instituto Superior de Arte, they met in 1990 and began to collaborate two years later. For twenty-six years, from their acclaimed debut at the Fifth Havana Bienal in 1994 to their decision to dissolve the partnership in 2018, Los Carpinteros evolved their craft from painting and appropriation to furniture, architecture, and site-specific projects installed around the world.
“There are lighthouses everywhere in Cuba, but when we work with lighthouses, the big lighthouse at the entrance of Havana unconsciously comes to us,” Arrechea once remarked. “You are subject to the light from that lighthouse—it’s always guiding you,” Rodríguez continued. “We use that image a lot, and every time I see a lighthouse, I think of Havana” (quoted in T. Dalton, “Los Carpinteros,” BOMB 78, Winter 2001-2002, p. 65). The present watercolor is a sketch for the large-scale sculpture of the same name that was made for the Ninth Havana Biennial in 2006. “We did our most politicized work in Havana when we exhibited a functioning lighthouse on its side in a dark gallery,” Castillo recalled. “We expected this symbol of fallen power to be censored and were surprised when it wasn’t” (quoted in M. Kerr, “Los Carpinteros,” Flash Art 43, March-April 2010, p. 102).
Abby McEwen, Assistant Professor, University of Maryland, College Park
“There are lighthouses everywhere in Cuba, but when we work with lighthouses, the big lighthouse at the entrance of Havana unconsciously comes to us,” Arrechea once remarked. “You are subject to the light from that lighthouse—it’s always guiding you,” Rodríguez continued. “We use that image a lot, and every time I see a lighthouse, I think of Havana” (quoted in T. Dalton, “Los Carpinteros,” BOMB 78, Winter 2001-2002, p. 65). The present watercolor is a sketch for the large-scale sculpture of the same name that was made for the Ninth Havana Biennial in 2006. “We did our most politicized work in Havana when we exhibited a functioning lighthouse on its side in a dark gallery,” Castillo recalled. “We expected this symbol of fallen power to be censored and were surprised when it wasn’t” (quoted in M. Kerr, “Los Carpinteros,” Flash Art 43, March-April 2010, p. 102).
Abby McEwen, Assistant Professor, University of Maryland, College Park
G. Ankele, et al., Los Carpinteros Handwork: Constructing the World, Cologne, Walther König, 2010 (illustrated, p. 232).
Havana, Galería Servando Cabrera, Manual de Trabajo, dibujos. Esculturas Recientes, November-December 2004.
Gainesville, Florida, Harn Museum of Art; Sarasota, Florida, John & Marble Ringling Museum of art; Eugene, Oregon, Jordan Schnitzer Museum; Manitoba, Canada, Winnipeg Art Gallery; Coral Gables, Florida, Lowe Art Museum; Katonah, New York, Katonah Museum of Art, Cuba Avant-Garde: Contemporary Cuban Art from the Farber Collection, May 2007- September 2010, pp. 72-73 (illustrated, p. 74).
New York, Museo del Barrio, Queens Museum of Art and The Studio Museum in Harlem, Caribbean: Crossroads of the World, June 2012-January 2013 (illustrated, p. 80).
Gainesville, Florida, Harn Museum of Art; Sarasota, Florida, John & Marble Ringling Museum of art; Eugene, Oregon, Jordan Schnitzer Museum; Manitoba, Canada, Winnipeg Art Gallery; Coral Gables, Florida, Lowe Art Museum; Katonah, New York, Katonah Museum of Art, Cuba Avant-Garde: Contemporary Cuban Art from the Farber Collection, May 2007- September 2010, pp. 72-73 (illustrated, p. 74).
New York, Museo del Barrio, Queens Museum of Art and The Studio Museum in Harlem, Caribbean: Crossroads of the World, June 2012-January 2013 (illustrated, p. 80).
We are grateful to Alexandre Arrechea for his assistance cataloguing this work.