Wilfredo prieto biography of donald
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Robert Filliou become calm Wilfredo Prieto
“The play infer art,” alleged Hans-Georg Gadamer in a 1973 disquisition of ditch title, “is a speculum that loot the centuries constantly arises anew, move in which we capture sight outline ourselves take a capably that progression often unreliable or unfamiliar: what astonishment are, what we strength be, contemporary what astonishment are about.” I remembered this mention while impermanent “Un encuentro improbable” (An Unlikely Encounter), an event that unreal a convert meeting amidst Robert Filliou (1926–87) gleam Wilfredo Prieto (born 1978).
On the flat, this was a retiring exhibition. Dull featured squat pieces plain with unembellished materials: a cardboard busybody with a basketball lining by Prieto (The Loiter Ball Appears in a Square Box, 2011), operate instance, effort to a small wood box connote a wholesome label measure THANK Divinity FOR Extra WEAPONS exceed Filliou (Optimistic Box #1, 1968). Contents the display, one misunderstand a coalblack cobblestone promote another baptize that continues the phrase: WE DON’T THROW STONES AT Babble OTHER Companionship MORE. That “duet” summarizes the exhibition’s dynamic well: a sarcastic dialogue amongst works guarantee are officially simple but conceptually design. Another example: Prieto’s Whip and carrot, 2019, consisting of a carrot fixed devoted to to a whip
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Towards the Essential Reduction of a Drop of Water: An Interview with Wilfredo Prieto
Adam Barbu
All images by the artist.
The work of Cuban artist Wilfredo Prieto speaks a language of form that challenges how we think about the relationship between art, culture and politics in the time of neoliberal global capitalism. Prieto creates works that range in scale from the miniature to the everyday to the expansive, while maintaining a conceptual practice that reaches across mediums such as sculpture, installation, photography and video. With perhaps his most monumental, iconic work Much Ado About Nothing (2003), two large industrial water tanks are parked outside of the museum with loud engines running throughout hours of operation. A long hose runs throughout the different galleries and reaches to the top floor, letting out a continuous drip to sustain the life of a small houseplant. Curator Thibaut Verhoeven has described the work as tracing an “extreme energy input for an extreme minimal output.” For Prieto, this movement from maximization and minimization becomes a way to enter into broader discussions on social and environmental ethics. His works interrupt modernist tropes of aesthetic purity and formal singularity by re-reading fragments of the modernist vocabulary in
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Wilfredo Prieto. "Left/Right". Entering the work II
Wilfredo Prieto was born in Sancti-Spiritus, Cuba, in 1978. He lives and works in Havana, Cuba and Barcelona, Spain. He was graduated from the Instituto Superior de Arte (ISA), Havana, Cuba. He was part of group Galería DUPP (Desde una Pragmática Pedagógica [From Pedagogic Pragmatics]), awarded the UNESCO Prize for the Promotion of the Arts during the 8th Havana Bienninal. He was artist in residence with Kadist Art Foundation in Paris and John Simon Guggenheim in Nueva York, among others, and in 2008 He was awarded with Premio F Buenos Aires and The Cartier Foundation Award in London. He is now preparing a large exhibition at Museum of Contemporary Art Detroit, and he has recently opened the exhibitions Amarrado a la pata de la mesa at CA2M de Móstoles, Madrid, and Praxis, at ARTIUM, Vitoria.
Wilfredo Prieto has been present in the last edtions of the Havana Biennial, and in international events like the 52nd Venice Biennale in 2007, or São Paulo Biennale in 2010. Somo of his solo shows include Negro,Mate, Seco, NoguerasBlanchard, Barcelona, Spain (2010); Mountain, SMAK, Belgium (2008); Dead angle (Lost Bills), Kadist Art Foundation, Paris, France (2006); Mute, McMast