{"id":89394,"date":"2017-04-14T06:00:21","date_gmt":"2017-04-14T10:00:21","guid":{"rendered":"http:\/\/oncubamagazine.com\/?p=89394"},"modified":"2018-10-02T21:54:58","modified_gmt":"2018-10-03T01:54:58","slug":"eduardo-abela-my-essence-is-absolutely-cuban","status":"publish","type":"post","link":"https:\/\/oncubanews.com\/en\/culture\/eduardo-abela-my-essence-is-absolutely-cuban\/","title":{"rendered":"Eduardo Abela: ” My Essence is Absolutely Cuban”"},"content":{"rendered":"

Eduardo Abela Torr\u00e1s (Havana, 1963), who lives and creates in Havana, is the son and grandson of renowned visual artists who left an imprint in Cuban art. However, the third Abela revealed himself early on against his genetic condition and, although he always drew in his school notebooks and almost became \u201cthe classroom\u2019s scribe,\u201d he refused to follow his father\u2019s and grandfather\u2019s steps; at the time he wanted to be a musician \u201cto dissociate myself from my legacy.\u201d He thus opted for humor. He worked for publications \u2013 like DDT<\/em>, Palante<\/em>, Bohemia<\/em> and the newspaper Tribuna de La Habana <\/em>\u2013 where he found the space for his first works. But genetics doesn\u2019t fail: \u201calthough I greatly enjoy humor, I sincerely never came to believe in it,\u201d he confesses to OnCuba<\/strong>.<\/p>\n

When in the late 1980s Abela got to the prestigious San Alejandro Art Academy he was already cultivating a work linked to graphic humor. Since that specialty has guidelines and rules that must be respected, he felt that engraving would give him the tools to become a designer, which was his intention: \u201cI didn\u2019t want to be a painter. It was a battle I waged against myself,\u201d he affirms.<\/p>\n

\"\u201cMadame<\/a>
\u201cMadame Ach\u00e9\u201d. 2016. Abela.<\/figcaption><\/figure>\n

For his graduation thesis from the Academy \u2013 which he defended in 1991 \u2013 he approached the Havana Experimental Graphic Workshop, the one in Cathedral Square, and there, he confesses, his life changed: \u201cI met Pedro Pablo Oliva, Roberto Fabelo, Nelson Dom\u00ednguez, Zaida del R\u00edo, Pepe Contino, Botal\u00edn, Eduardo Roca Salazar (Choco), among other creators, and it is then that I really started entering and understanding the world of the engravers. Although I continued doing caricatures, I started seeking other forms, other projections, and I suppressed the texts and they almost turned into illustrations. The Engraving Workshop completely opened my horizons and I mutated from graphic humor to the visual artist I am today.\u201d<\/p>\n

Abela has had numerous and diverse exhibitions throughout his intense career, but what\u2019s significant is not the amount but rather that in each one of his proposals he presents and defends a thesis: \u201cI display when I have something new to say; each exhibit has a defined and marked purpose.\u201d<\/p>\n

\"\u201cLove<\/a>
\u201cLove is in the air\u201d. 2016. Abela.<\/figcaption><\/figure>\n

Fundamentally figurative and a disciple of the work of Cuban painter, engraver and sculptor Angel Ram\u00edrez, who today he still considers \u201chis teacher,\u201d Abela remembers with particular pleasure some projects with a two-person exhibition in 1998 in La Acacia Gallery with the also \u2013 abstract \u2013 painter Andy Rivero: \u201cour works have nothing in common, but we were joined by themes because they were appropriations and also humor. Andy took from Mondrian and Modigliani, and I from Keith Haring Lichtenstein. Both languages were incredibly imbricated and seemed works by a single person. A stew thickened, but based on graphic art as sustenance because both of us are engravers.\u201d<\/p>\n

\"\u201cAnunciaci\u00f3n\u201d.<\/a>
\u201cAnunciaci\u00f3n\u201d. 2015. Abela.<\/figcaption><\/figure>\n

In 2004 in the Servando Cabrera Gallery \u2013 together with Ernesto Ranca\u00f1o and Vicente Rodr\u00edguez Bonachea \u2013 he exhibited Un, dos, tres\u2026 que trazo m\u00e1s ch\u00e9vere<\/em>, and that same year in the venue of the National Council of Visual Arts the one titled Las once mil v\u00edrgenes<\/em>, while in 2005, in the Palace of Count Lombillo, in colonial Havana, \u00a1Ay, Dios m\u00edo!<\/em><\/p>\n

In Mec\u00e1nica popular<\/em> he tended to favor the object: \u201cI like the tridimensional and I had been doing an object-style work with textures.\u201d That taste for the object and even for the arte povera<\/em> \u2013 his works take out of oblivion certain objects that have had other lives \u2013 is also a support in Abela\u2019s work: \u201canother of my great passions is collecting antiques \u2013 old typewriters, telephones, receptacles, etc. -, and that allows me to have a stock of objects that open another road for me, because I get tired very fast with what I\u2019m doing, although I have doubts, I don\u2019t know if that is a virtue or a defect. Artists generally work a line until they seek \u2013 and even find \u2013 that which they call their own seal, but personally I am absolutely not interested.\u201d<\/p>\n

\"\u201cMuchacha<\/a>
\u201cMuchacha con cabeza en las nubes\u201d2016. Abela.<\/figcaption><\/figure>\n

U.S. photographer Richard Falco\u2019s snapshots on September 11, 2001 in the site where the Twin Towers in New York were served as inspiration for the work of 42 Cuban artists to order. The exhibit, displayed in Havana\u2019s Jos\u00e9 Mart\u00ed Memorial, was titled Cita con \u00e1ngeles<\/em> and Abela was one of the chosen creators: \u201cI assume that type of work as a challenge. I love to submerge myself in worlds I have never explored and to exhibit together with artists that have made incursions into certain themes. Even though I miss a risk, it\u2019s a way of measuring oneself. There are artists who when they get to what I call \u2018the comfort zone\u2019 settle themselves and become stagnated. That\u2019s something I really am afraid of and that\u2019s why I am constantly placing self-traps for myself and making incursions into the most diverse materials.\u201d<\/p>\n

In 2014 the spacious El reino de este mundo Gallery, in Havana, hosted Maestro, \u00bfpudiera usted explicarme?<\/em> in which he proposed a dialogue between contemporary art and the most traditional: \u201ccontemporary art is advancing at a great speed and what before was rubble is now an installation. Today art is very free and the barriers of what is or isn\u2019t art are vague, they even don\u2019t exist. In that exhibition I worked on established aesthetics \u2013 like those of Rembrandt or Vel\u00e1zquez -, that is to say, on the most classical currents; it was the dialogue or confrontation between the art that is institutionally considered good art, and the other new one, which challenges what has been imposed for centuries.\u201d<\/p>\n

As Abela confessed, his painting delves into Cuban identity, but in a sui generis way. These are some of his arguments: \u201cI speak of identity because I work on aesthetics that are not Cuban and the Cuban is in what happens, in the story told in each work. Frequently the particular is the universal and that\u2019s why I work a great deal with traditional music, with the history of the nation. My iconography has to do with the pop or with the gothic, but what is narrated is purely national. My essence, or heart, is absolutely Cuban and the exterior covering is just a pretext,\u201d he concluded.<\/p>\n

\"\u201cNuestro<\/a>
\u201cNuestro vino\u201d. 2016. Abela.<\/figcaption><\/figure>\n","protected":false},"excerpt":{"rendered":"

Eduardo Abela Torr\u00e1s (Havana, 1963), who lives and creates in Havana, is the son and grandson of renowned visual artists who left an imprint in Cuban art. However, the third Abela revealed himself early on against his genetic condition and, although he always drew in his school notebooks and almost became \u201cthe classroom\u2019s scribe,\u201d he […]<\/p>\n","protected":false},"author":2480,"featured_media":90701,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[33],"tags":[],"ppma_author":[33682,7146],"class_list":["post-89394","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-culture"],"acf":[],"yoast_head":"\nEduardo Abela: " My Essence is Absolutely Cuban" | OnCubaNews English<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/oncubanews.com\/en\/culture\/eduardo-abela-my-essence-is-absolutely-cuban\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Eduardo Abela: " My Essence is Absolutely Cuban" | OnCubaNews English\" \/>\n<meta property=\"og:description\" content=\"Eduardo Abela Torr\u00e1s (Havana, 1963), who lives and creates in Havana, is the son and grandson of renowned visual artists who left an imprint in Cuban art. 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