{"id":295453,"date":"2024-01-28T11:53:38","date_gmt":"2024-01-28T16:53:38","guid":{"rendered":"https:\/\/oncubanews.com\/en\/?p=295453"},"modified":"2024-01-28T11:53:38","modified_gmt":"2024-01-28T16:53:38","slug":"ana-mendieta-from-head-to-foot-now-at-musac","status":"publish","type":"post","link":"https:\/\/oncubanews.com\/en\/cuba\/ana-mendieta-from-head-to-foot-now-at-musac\/","title":{"rendered":"Ana Mendieta, from head to foot, now at MUSAC"},"content":{"rendered":"

The exhibition <\/span>En busca del origen<\/span><\/i>\u00a0opened this Saturday, January 27 at the <\/span>\u00a0<\/span>Museum of Contemporary Art of Castilla y Le\u00f3n<\/b><\/a> (MUSAC), bringing back the work of Cuban artist Ana Mendieta (1948-1985), one of the pioneers of contemporary art that prefigured currents that were later vibrant in the 21st century.<\/span><\/p>\n

The exhibition is a novelty in Spain, since in more than a quarter of a century the European country had not dedicated a personal exhibition of Mendieta\u2019s plastic production.<\/span><\/p>\n

The curators brought together more than a hundred works that cover seventeen years of production by the artist (1968-1985) who, together with her sister Raquel, left the island under the umbrella of Operation Peter Pan.\u00a0<\/span><\/p>\n

Organized by the United States government and the Catholic Church, the program, in force between 1960 and 1962, took more than 14,000 minors out of Cuba heading north without family or guardian accompaniment in one of the most traumatic and controversial immigration events in bilateral history.\u00a0<\/span><\/p>\n

Many were never reunited with their families.<\/span><\/p>\n

The exhibition includes photographs, videos, sculptures, installations, drawings and paintings, including iconic works such as silhouettes or cave graphics, as well as a set of thirteen unpublished pieces.<\/span><\/p>\n

It also includes her drawings on <\/span>amate paper<\/b><\/a>, a selection of paintings executed between 1969 and 1971, the recreation of an installation made in 1978 and a set of photographs discovered in September 2022.<\/span><\/p>\n

The person responsible for her legacy, her niece and goddaughter Raquel Cecilia, highlighted that the exhibition explores how Ana Mendieta \u201cnever stopped reinventing herself, developing a new sculptural language, often ephemeral, sometimes performative, always fueled by her research into the original myths and cave painting.\u201d<\/span><\/p>\n

\u201cFar from being understood as a retrospective, the project focuses on revealing Ana Mendieta\u2019s relationship with the visible and the invisible, the permanent and the ephemeral, her way of making the unspeakable explained through the trace of the body and its insertion into nature,\u201d she added.<\/span><\/p>\n

The body as laboratory and standard\u00a0<\/b><\/p>\n

Throughout the 1970s and first half of the 1980s, Mendieta created a powerful body of work defined by the body and its encounter with nature.<\/span><\/p>\n

In just over fifteen years she developed her own hybrid practice, which fused aspects of <\/span>body art\u00a0and land art.<\/b><\/a><\/p>\n

Ana Mendieta: \u201cSi no hubiera sido artista, hubiera sido delincuente\u201d<\/a><\/p><\/blockquote>\n