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Scratched Surfaces, as Diamond against Crystal, is Carlos Garaicoa’s debut exhibition at Goodman Gallery, London. Garaicoa is one of Cuba’s most significant contemporary artists. Through a multidi- sciplinary approach, Garaicoa addresses issues of culture and politics with a reflexive lens into architecture, urbanism and history. His work has been included in the Biennials of Havana (1991- 2019), São Paulo Biennale (1998, 2004, 2010), the first Johannesburg Biennale (1995) as well as the Venice Biennale (2005, 2009, 2018), among others. In his essay, Between Apparatus and Subjectivity: Carlos Garaicoa’s Post-Utopian Architecture, Okwui Enwezor described his practice, “Garaicoa is perhaps one of the most significant artists of his generation to develop a sustained aesthetic and analytical framework that would fuse the heritage of modern Cuban art and its complex political structure.”

Scratched Surfaces, as Diamond against Crystal, is a presentation of salient bodies of work that engage affective and temporal dimensions of landscape. The exhibition includes the project Memorias Intimas Marcas/ Intimate Memories: Marks which was initiated in 1996. As well a new major project co-commissioned with DIDAC Art Foundation in Santiago (Spain), Línea rota de horizonte/ Broken Line of Horizon (2021) exhibited for the first time in the UK.

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Installation view | Scratched Surfaces, as Diamond against Crystal, Goodman Gallery London, 2021

Image: Alexander James Edwards 

Installation view | Scratched Surfaces, as Diamond against Crystal, Goodman Gallery London, 2021

Image: Alexander James Edwards 

Installation view | Scratched Surfaces, as Diamond against Crystal, Goodman Gallery London, 2021

Image: Alexander James Edwards 

Installation view | Scratched Surfaces, as Diamond against Crystal, Goodman Gallery London, 2021

Image: Alexander James Edwards 

Installation view | Scratched Surfaces, as Diamond against Crystal, Goodman Gallery London, 2021

Image: Alexander James Edwards 

Installation view | Scratched Surfaces, as Diamond against Crystal, Goodman Gallery London, 2021

Image: Alexander James Edwards 

Installation view | Scratched Surfaces, as Diamond against Crystal, Goodman Gallery London, 2021

Image: Alexander James Edwards 

Installation view | Scratched Surfaces, as Diamond against Crystal, Goodman Gallery London, 2021

Image: Alexander James Edwards 

Installation view | Scratched Surfaces, as Diamond against Crystal, Goodman Gallery London, 2021

Image: Alexander James Edwards 

Installation view | Scratched Surfaces, as Diamond against Crystal, Goodman Gallery London, 2021

Image: Alexander James Edwards 

Installation view | Scratched Surfaces, as Diamond against Crystal, Goodman Gallery London, 2021

Image: Alexander James Edwards 

Installation view | Scratched Surfaces, as Diamond against Crystal, Goodman Gallery London, 2021

Image: Alexander James Edwards 

Esquirlas 1

Esquirlas / Splinters (I), 2019
Digital printing on gesso and aluminum

60 x 80 x 2.5 cm / 23.6 x 31.5 x 1 in.
Edition of 5

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Garaicoa’s understanding of transitions and the multiplicity of place is reflected in works such as Esquirlas/Splinters (1996-1999). The series of photographs sourced from his archive were taken during his trip to Angola in 1996. The work proposes an archaeology of the Cuito-Menongue road, which served as a road for transporting military supplies and contributed to keeping an active first line of battle, during the Angolan war. The route along the Cuito-Menongue road consisted of abandoned war materials exposing the structures and genealogies associated with war together with geopolitics that cause them. Printed on metal in irregular shapes that seem to fly in the air, the photographs explore the idea of fragments that come to us in the form of memory, narrating stories that seem lost in time.

Esquirlas (ii)

Esquirlas / Splinters (II), 2019
Digital printing on gesso and aluminum

60 x 80 x 2.5 cm / 23.6 x 31.5 x 1 in.
Edition of 5

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Esquirlas 3

Esquirlas / Splinters (III), 2019
Digital printing on gesso and aluminum

60 x 80 x 2.5 cm / 23.6 x 31.5 x 1 in.

Edition of 5

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Esquirlas 4

Esquirlas / Splinters (IV), 2019
Digital printing on gesso and aluminum

60 x 66 x 2.5 cm / 23.6 x 26 x 1 in.
Edition of 5

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Esquirlas 5

Esquirlas / Splinters (V), 2019
Digital printing on gesso and aluminum

80 x 46.5 x 2.5 cm / 31.5 x 18.3 x 1 in.
Edition of 5

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Esquirlas 6

Esquirlas / Splinters (VI), 2019
Digital printing on gesso and aluminum

60 x 76 x 2.5 cm / 23.6 x 30 x 1 in.
Edition of 5

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Esquirlas 7

Esquirlas / Splinters (VII), 2019
Digital printing on gesso and aluminum

60 x 80 x 2.5 cm / 23.6 x 31.5 x 1 in.
Edition of 5

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Garaicoa’s practice is underscored by an understanding of spatial conditions embedded in physical and social networks. Even when it is rendered on a two-dimensional surface, as with his photographs and drawings, the work draws attention to corporeality as well as the manner in which space is produced and inhabited. In Instrumento para disolver la memoria / Instrument to dissolve memory (1997), initially created while the artist was in Cuito Cuanavale, Garaicoa merges two models by 16th-century Flemish physician Andrea Vesalius. An anatomical rendering of an arm holds a sharp wooden stick, pointing it to an open skull. With a similar function to a scalpel, the wooden stick is a gesture of violence as well as a tool of examination of the harsh memories of war. The use of Baroque figuration highlights the artist’s interest in the relationship between the violence of modern medicine and the ferocity of war. The drawing is accompanied by a photograph, taken in Cuito Cuanavale, of Garacioa’s own arm holding an ordinary branch and pointing it to the ground.

Instrument image

Instrumento para disolver la memoria / Instrument to dissolve memory, 1997-2021
Acrylic, black & white photograph and vinyl

Variable Dimensions

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Video-Show

Línea rota de horizonte / Broken Line of Horizon, 2021
Bronze, limestone, carborundum, metal, wood, cement, soil, trunks, cigarette butts
Variable Dimensions
Unique

Installation view:  CondeDuque Contemporary Culture Center.

Image: Oak Taylor-Smith

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Línea rota de horizonte / Broken Line of Horizon, 2021
Bronze, limestone, carborundum, metal, wood, cement, soil, trunks, cigarette butts
Variable Dimensions
Unique

Installation view:  CondeDuque Contemporary Culture Center.

Image: Oak Taylor-Smith

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Línea rota de horizonte / Broken Line of Horizon, 2021
Bronze, limestone, carborundum, metal, wood, cement, soil, trunks, cigarette butts
Variable Dimensions
Unique

Installation view:  CondeDuque Contemporary Culture Center.

Image: Oak Taylor-Smith

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Línea rota de horizonte / Broken Line of Horizon, 2021
Bronze, limestone, carborundum, metal, wood, cement, soil, trunks, cigarette butts
Variable Dimensions
Unique

Installation view:  CondeDuque Contemporary Culture Center. Image: Oak Taylor-Smith

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Línea rota de horizonte / Broken Line of Horizon, 2021
Bronze, limestone, carborundum, metal, wood, cement, soil, trunks, cigarette butts
Variable Dimensions
Unique

Installation view: Fundación Didac, Spain.

Image: Roy Alonso

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Installation view

Línea rota de horizonte / Broken Line of Horizon, 2021
Bronze, limestone, carborundum, metal, wood, cement, soil, trunks, cigarette butts
Variable Dimensions
Unique

Installation view: Fundación Didac, Spain.

Image: Roy Alonso

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Broken Line of Horizon

Línea rota de horizonte / Broken Line of Horizon, 2021
Bronze, limestone, carborundum, metal, wood, cement, soil, trunks, cigarette butts
Variable Dimensions

Image: Roy Alonso

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The large-scale installation, Línea rota de horizonte establishes a dialogue between the structures of the city and their relationship with nature — highlighting the ways in which nature is in many cases abused or neglected. The installation is based on the American sycamore tree (Platanus occidentalis), a common sight in the streets of Madrid. Made from bronze, wood, soil, trunks and metal, a single tree emerges from a group of stumps arranged in grids, just as we find the at the urban space and remarking here the compressed landscape. 

Sin titulo tree

Sin título (Árbol) / Untitled (Tree), 2021
Pins and thread on lambda gator, diptych

Each: 155 x 125 cm / 61 x 49.2 in. 

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For various years, Garaicoa has been working on a series of black and white mural photographs of different buildings in Havana integrated with thread drawings. In a new turn of this series we find the works Untitled (Cayuelo) (2018); Untitled (Tree - Miramar) (2021), Untitled (The Autumn of the Patriarch) (2021), Untitled (Tree – Cerro) (2021) where he moves the eye to the relation of the trees and garden with the city, making an statement about the tension between urbanism and nature. The drawings and photos in the exhibition are directly dialoguing with the central installation Broken Line of Horizon and develops in the interest that the artist has for years in concepts of the gardens and the non-natural processes inside the city.

sin titulo autumn

Sin título (El otoño del patriarca) / Untitled (The Autumn of the Patriarch), 2021
Pins and thread on lamda gator

178 x 124 cm / 70 x 48.8 in.

Image: Oak Taylor-Smith

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Sin titulo cerro

Sin Titulo (Árbol-Cerro) / Untitled (Tree), 2021
Pins and threads on lambda photograph mounted and lamibared in black Gator Board
180 x 120 cm / 61 x 49.2 in.

Image: Oak Taylor-Smith

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Nueva

Nuevas arquitecturas para cuito cuanavale / New architectures for Cuito Cuanavale, 2021
Colour photograph and graphite drawing

120 x 100 cm / 47.2 x 39.3 in.

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Modelo

De La serie Modelos C (Modelo C-X) / From the series Models C (Model C-X), 2020
Graphite drawing on Guarro cardboard 240 g

Each: 70 x 50 cm / 19.7 x 27.5 in. 

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The series of drawings in Models C (Models of Confinement) (2020) consider the symbolism of ruins and spaces of confinement. A built structure is tightly wound to a tall tree as a metaphor for restraint and captivity. The drawings are a visual tale of the nightmares of repressive architectural planning and point to the necessity to change the order of things. 

Bio

Carlos Garaicoa (B. 1967 Havana, Cuba) studied thermodynamics and later painting at the Instituto Superior de Arte, Havana (1989–1994).

Garaicoa has had numerous solo exhibitions including recently at SCAD Museum of Art, Savannah (2020); PEM Peabody Essex Museum, Salem (2020); Lunds Konsthall and Skissernass Museum, Lund (2019); Parasol Unit Foundation, London (2018); Fondazione Merz, Torino (2017); MAAT Museu de Arte, Arquitectura e Tecnologia, Lisbon (2017); Azkuna Zentroa, Bilbao (2017); Museum Villa Stuck, Munich (2016); Nasjonalmuseet, Oslo (2015); CA2M Centro de Arte 2 de Mayo, Madrid (2014).

He has participated in prestigious international events such as: the Biennials of Havana (1991- 2019 different editions), Shanghai (2010), São Paulo (1998, 2004, 2010), Venice (2005, 2009, 2018), Johannesburg (1995), Liverpool (2006) and Moscow (2005), the Triennials of Auckland (2007), San Juan (2004), Yokohama (2001) and Echigo- Tsumari (2012); Documenta 11 (2003) and 14 (2017); PhotoEspaña 12 (2012); Yorkshire Sculpture Park (2005, 2008) and Sonsbeek (2001)

In 2005 he received the XXXIX International Contemporary Art Prize - Foundation Prince Pierre de Monaco, and the Katherine S. Marmor Award in Los Angeles. He currently lives and works between Havana and Madrid.