/ 26 June, 2015

A retrospective exhibition of Gustavo Pérez Monzón´s work is displayed on the second floor of the Cuban Art Collection at the National Museum of Fine Arts in Havana . It includes drawings and installations, some of them emblematic; as well as site-specific works made in the 1980s, especially reissued by the artist with regard to this retrospective exhibition, which brings together a total of 76 exponents of different creative periods of the artist. The time frame ranges from 1979 to the end of the 1980s.

The exhibition is inserted in the Twelfth Biennial of Havana. It is the result of collaboration between CIFO Europa / Cisneros Fontanals Art Foundation and the National Museum of Fine Arts in Havana. The works belong to the Ella Fontanals Cisneros Collection.

Pérez Monzon´s artistic production was exhibited in several group exhibitions since the late 1970s: Pintura fresca, Volumen Uno, Sano y Sabroso, De lo contemporáneo and Trece artistas jóvenes , among others. His first solo exhibition, Luna Llena, together with Ricardo Brey (1980), took place at the Jaruco Cultural House; the following year he exhibited at the National Museum of Fine Arts his Serie A. Serie B. His work was part of the Cuban shipment to the May Salon and the Paris Biennale (1982). His national and international importance is described in the book New Art in Cuba (1991), written by the German-Uruguayan artist and critic Luis Camnitzer.

Pérez Monzon, who was one of the participant artists of the legendary exhibition Volumen Uno (1981), stopped painting in the late eighties, by choice. A large part of his professional life has been devoted to art education. He resides in Mexico since the early nineties where he directs the Morelos Academy of Arts, in Cuernavaca

His artistic work is inscribed within the conceptualist tradition, whilst being heir of geometric abstraction, abstract expressionism and Lucio Fontana’s spatialism. He is interested in synthesizing various references within a very personal artistic project, which focuses on mathematics and numerology as starting points. In this regard, the author said:

Generally speaking I created works that function as systems supported by a logical order and, at the same time, were perceived emotionally, with all the arbitrariness and depth that a work of art allows. (…) I do not see that the works I made to be based on parameters associated with science or technology but on arithmetic or rather numerological concepts. In numerology, the numbers do not express only amounts, also contain meanings and therefore relationships that give them an order.

Illustrated with images of all works, this exhibition has a catalogue of 180 pages, published by CIFO Cisneros Fontanals Art Foundation, which will be shortly presented. With an introductory text by Ella Fontanals Cisneros, the publication includes essays by Nestor Díaz de Villegas and Corina Matamoros, respectively; a careful selection of archival photos and an interview with the artist conducted by the curators Elsa Vega and Rene Francisco Rodriguez.


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