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Dec 292015
 

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Carlos Martiel in performance at Pinta Miami, 2015 // Image courtesy of Q. Dukes

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ARTIST FEATURE & INTERVIEW WITH CARLOS MARTIEL

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by Performance is Alive

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This year performance art pervaded Miami Art Week 2015 (for better and for worse). Most notably at the non-traditional, multi-destination, Satellite Fair organized by Brian Wheatley and the curatorial project “Time Sensitive” curated by Jesús Fuenmayor at Pinta Miami. As you can imagine, the sheer density of events, shows and performances prohibited us (Alexandra Hammond + myself) from being able to view the full performance roster at either fair but we were determined to catch Carlos Martiel’s durational work at Pinta Miami. Martiel caught my attention last October for his durational performance, “Segregation” at Samson Projects (Boston) where he stood motionless between two layers of barbed wire. Upon entry, audience members were separated by country of origin and viewed the performance from opposing sides. Martiel notes on his website, “One of the entryways permitted the entrance of U.S. born whites and Europeans. The other, permitted the entrance of blacks, latinos, asians, and middle easterners, as well as any individual who was not European or U.S. born white. People were not allowed to mix for the duration.”

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(more info here)

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Dec 152015
 
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Performance EL TANQUE
January 22, 2016.
6:00 p.m.

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Performance produced as part of the group exhibition “An Island Apart: Cuban Artists in Exile” curated by Janice Glowski.

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(more info here)

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Miller Gallery | 33 Collegeview Road, Westerville, OH 43081

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Nov 252015
 

December 2 – 6, 2015.

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Curated by Jesús Fuenmayor.

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“Dictadura” (Dictatorship) is the title of the performance that Cuban artist Carlos Martiel presents as part of “Time Sensitive – Pinta Projects.” Martiel aims to reflect on the history of dictatorship in Latin America and the diversity of the Latin and Latino communities in Miami. In his performance Martiel shows himself naked and tied to a flagpole, while at the same time a flag is raised. He will present the same performance for the duration of the art fair, each day with a different flag. The flags will be taken from the 21 Latin American countries that were (or still are) under a dictatorial regime, in some instances supported by the Western Hemisphere Institute for Security Cooperation, also known as the School of the Americas.

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(more info here)

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Mana Wynwood | 318 NW 23rd Street, Miami, FL 33127.

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Nov 122015
 
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NOV 20 – NOV 22, 2015
OPENING RECEPTION: FRIDAY NOV 20 FROM 6 TO 10 PM
CLOSING RECEPTION: SUNDAY 22 FROM 4 TO 7 PM

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COURT SQUARE STUDIOS is pleased to present the first group show exhibition of Francisco Bustamante, Carlos Martiel, Jake Scharbach.

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Curated by Manuela Viera-Gallo

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The three pieces presented in Crossing Boundaries unfold from the Self of their authors: their experiences, the reality of their everyday lives, the city they live in, their being men. They are made palpable through the visual as well as the impulses which sink their roots in the magma of the unconscious. The corporal expressionism of the work is evident: there is distress, there is resistance, there is denunciation. They speak of suffering and the threat of a diffuse violence that runs through American life.

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(more info here)

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Court Square Studios | 2138 44th Rd, Long Island City, New York 11101

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Nov 062015
 

Durational performance produced as part of the group exhibition Time Sensitive curated by Jesús Fuenmayor.

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December 2 – 6, 2015.

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As part of PINTA Miami’s curatorial projects this year, curator Jesús Fuenmayor will present a series of artistic proposals that explore the incorporation of time in the work of art, focusing on works that are sensitive to the relation between the temporal and the spatial. The idea is to bring together a group of works by prominent artists from Ibero-America (Latin America, Spain and Portugal); created by well-established artists as well as by younger generations, but all of whom take up the question of time, one of the most defining elements in contemporary art’s reception. Here, the incorporation of time in the artwork is essential since it functions as a trigger that makes the fair’s public sensitive to its perceptual conditions and the paradoxes that govern this context.

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(more info here)

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Mana Wynwood | 318 NW 23rd Street, Miami, FL 33127.

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Nov 042015
 
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Por Luis Felipe Rojas
Martinoticias.com

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Carlos Martiel es un grito que se ha apoderado de otros gritos. Ahora reside en New York y sus performances dan cuenta del lanzamiento de su cuerpo hacia la violencia extra verbal, silenciosa a veces.

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Este joven artista habanero, nacido en 1989 y Graduado de la Academia Nacional de Bellas Artes “San Alejandro”, ha dejado pedazos de su piel –literalmente- en lugares en que ha expuesto sobre la inmigración ilegal, los abusos del poder o el mito que ronda hoy por las apariencias humanas.

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Hace solo una semana realizó Legado: se enterró -en una galería neoyorquina-, en dos grandes vasijas llenas de café importado de Haití y Jamaica, países de donde sus abuelos emigraron a Cuba en la década de 1920.

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(more info here)

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Oct 282015
 
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Monday, October 26th, 2-3pm

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School of the Museum of Fine Arts, Mission Hill Bldng, Boston, MA.

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Oct 172015
 

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Performance Thursday, October 22, 6:30–7:30 p.m.

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New York, NY – October 17, 2015. Robert Miller Gallery is pleased to present a new performance work by Carlos Martiel in conjunction with Nuevos Colores, a group exhibition of new art from Cuba.

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In Legado (legacy), Martiel buries himself between two clay pots filled with coffee grounds from Jamaica and Haiti respectively, countries from which his grandparents imigrated to Cuba in the mid-1920s. As an extension of this personal history, the work ruminates on the flow of economic migrants created by colonialism, their legacy in the Caribbean, and human and environmental exploitation by Western powers. The resulting conditions have irrevocably marked the identity of groups inhabiting these countries and their economies.

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Martiel’s performance will draw out this autobiographical experience to discuss the Caribbean diaspora as a social phenomenon, which is in part produced by exploitation of the land’s wealth. Along with the introduction of goods such as coffee, cotton, and sugar cane in the Caribbean came new forms of social relations, particularly slavery. The coffee that will fill the two clay pots in which Martiel will bury himself have been imported to the U.S. from Jamaica and Haiti to represent and investigate this phenomenon and the artist’s own Cuban identity.

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(more info here)

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Robert Miller Gallery | 524 West 26th Street

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Oct 142015
 

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Break the Night, Installation view, Museo Tornielli di Ameno, October 2015

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L’isola che sognava i leoni – Artwork in Cuba
31 ottobre 2015 – 10 gennaio 2016

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Le sale del Museo Tornielli di Ameno dal 31 ottobre 2015 al 10 gennaio 2016 ospiteranno un nuovo progetto espositivo intitolato L’isola che sognava i leoni – Artwork in Cuba a cura di Olga Gambari e Eleonora Battiston.

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Espongono:
Wilber Aguilera, Glauber Ballestrero, José Bedia, Los Carpinteros, Alexis Esquivel, René Francisco, Félix Gonzalez- Torres, Kcho, Glenda León, Carlos Martiel, Ana Mendieta, Lazaro Navarrete, Osmeivy Ortega, Eduardo Ponjuan, Carlos Quintana, Guibert Rosales, Leonardo Salgado.

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(more info here)

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Museo Tornielli | Piazza Marconi, 1 28010 Ameno(No)

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Oct 102015
 

SEGREGATION | Carlos Martiel

Sunday, October 25, 3:00-5:00 pm

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Samsøn |450 Harrison Ave, Boston, MA 02118

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