#carlos martiel

[iscariotapologist]

Carlos Martiel, Vaciamiento. 2024

I remain seated with my head and hands shackled to a steel sculpture reproducing the pediment of a christian church. My father and mother, also shackled, support the weight and balance of the sculpture with their hands.

[totalposer]

[sexypinkon]

Sexypink - Renaissance and Resistance.

This Performance piece by recent Maestro Dobel Latinx Art Prize 2023 Awardee Carlos Martiel (Cuban) reflects the great painting of St Sebastian by Andrea Mantegna (1459) Martiel uses his black body unironically in an Italian setting to bring home the sacrifice and martyrdom faced by those constantly oppressed and murdered for causes against inhumanity to man.

Mantegna chose to stand St.Sebastian up in a classical Christlike pose. Martiel chooses the fetal position to advance the action of the impaling just as dramatically.

................................................................................

Sexypink looks at a work by Carlos Martiel -

Trophy CUBA. Tatuare la storia, Padiglione d’Arte Contemporanea (PAC), Milan, Italy. Curated by Diego Sileo and Giacomo Zaza

I am lying down ‎in a fetal position with a hunting arrow piercing my waist.

[martalosada]

Carlos Martiel

La Habana, 1989

[anthronym]

Carlos Martiel , Evocación (2008)

“In this work, blood functions as a revitalizing vehicle, a cohesive element between past and present as seen in Yoruba rituals of sacrifice.

I recite the poem “Canto negro” (Black Song) by Nicolás Guillén on my knees, then making a cut on my left arm. While blood flows on the poet’s text, I write on the wall a poem of my authorship celebrating blackness.”

[whileiamdying]

Marina Abramovic to take over London’s Queen Elizabeth Hall this autumn

A selection of artists have been invited by Abramovic to stage long-form performances in the concert venue—including backstage areas normally off-limits to visitors.

An image from Marina Abramović's new book, Marina Abramović: A Visual Biography, which will be part of an event at the Southbank Centre in LondonCourtesy Southbank Centre

Lee Cheshire 10 July 2023

London will receive a triple helping of the performance artist Marina Abramovic this autumn. Her twice-delayed exhibition at the Royal Academy will finally open on 23 September (until 1 January 2024). Meawhile, the English National Opera will host the UK premiere of her opera project, 7 Deaths of Maria Callas. And across the river, the artist's institute will take over large parts of the Southbank Centre from 4 to 8 October.

Artists curated by the Marina Abramovic Institute will present long-form performances across the site, including for the first time the dressing rooms, green rooms, technical spaces and the foyers, as well the main auditoria of the Queen Elizabeth Hall and Purcell Room.

Performers will include Collective Absentia, Carla Adra, Paula Garcia, Carlos Martiel, Yiannis Pappas, Paul Setúbal, Despina Zacharopoulou. Abramovic herself will participate on 4 and 8 October, and be present at other times.

“The public will be invited not just to be an observer, but also to actively participate,” says Marina Abramovic in a statement. “Long durational performances are one of the most ephemeral, unique, difficult, demanding and transformative works of art today. My institute, Marina Abramović Institute, will present very different views of this medium. I am passionate about expanding beyond my own practice by supporting other performance artists through this project."

Abramovic will also mark the publication of her new book Marina Abramovic: A Visual Biography in an event at Southbank on 1 October, which includes new interviews and never before seen images from her personal archives.

The takeover was announced today as part of the Southbank Centre’s autumn/winter schedule, which also includes dance performances from (LA)HORDE and Brazilian artists Alice Ripoll and Cia Suave.

[diasporaslippage]

Carlos Martiel

[jpgofapinkthang]

Carlos Martiel, Prodigal Son

[raveneuse]

Carlos Martiel, Where My Feet Do Not Reach, 2011. Photo: Javier Castro, Guibert Rosales.

“My body remains anesthetized in a boat adrift in the waters of a river.”

[thecubanartobserver]

Exposición "10 de 500 La Cuadratura del Círculo", Colectiva

Exposición “10 de 500 La Cuadratura del Círculo”, Colectiva

Exposición 10 de 500 La Cuadratura del Círculo Colectiva 07.02.2020 Factoría Habana “En 10 años de intensa presencia en el panorama de las artes visuales cubanas, el Centro de Arte Contemporáneo Factoría Habana se ha dado la labor de funcionar como medidor y propulsor de la producción nacional. Sobrepasando la cifra de treinta exhibiciones, ha presentado la obra de los actores más activos y…

[queerographies]

[Carlos Martiel. Vivere nel tuo corpo][Diego Sileo]

[Carlos Martiel. Vivere nel tuo corpo][Diego Sileo]

Nel dicembre 2016 la Galleria Rossmut di Roma ha ospitato – in esclusiva assoluta per l’Italia – la mostra dell’artista Carlos Martiel (L’Havana, 1989), curata da Diego Sileo.  NFC edizioni ha curato il catalogo, di 184 pagine in lingua italiana, inglese e spagnola e racchiude oltre 40 performance dell’artista. Le performance di Carlos Martiel, spesso provocatorie e crude, esplorano la natura…

[iscariotapologist]

Carlos Martiel, Peso Muerto (Dead Weight). 2017

[jp2bondage]

Carlos Martiel: Dead Weight Project 2017 Photos: Renato Mangolin Peso muerto (Dead Weight) Manjar, Solar dos Abacaxis, Rio de Janeiro, Brazil. Curated by Bernardo Mosqueira I am restrained under the weight of a wooden cross which functions as a pillory.

http://africanah.org/carlos-martiel-dead-weight-project-2017/

[sexypinkon]

Sexypink - An important award for a powerful performer. Well deserved Carlos Martiel.

[performamagazine]

Carlos Martiel in Conversation with Performa’s Job Piston, translated by Vanessa Vargas.

I first met artist Carlos Martiel during the Performa 15 Biennial, at a party for his former teacher Tania Brugera’s first Performa Digital Commission.  Last February, a year and a half later, we met over email and a few layers of translation, to discuss his current work, inspirations, and performance philosophy.  His next performance can be seen in the Cuban Pavillion at the 57th Venice Biennale on May 12th. Martiel's inital responses were in Spanish, and a full Spanish version of this interview follows the English one.      

Performa: You just finished a new work, Cauce/Riverbed (2017), at the L.A. Art Show. Could you describe the performance?  Could you share some of your first reflections? Carlos Martiel: In this performance, I was lying in fetal position, embedded in a block of mud, for over two hours as drops of water fell around my mouth. The performance reflects on the substantial challenges faced by certain groups of immigrants in the United States, usually those arriving from Mexico, Nicaragua, Honduras and other Latin American countries. These challenges are generated by the lack of legal immigration status thus reducing possibilities for social mobility and integration into American society, adding to low levels of education, or the limited English proficiency of some members of this immigrant community. Life in the United States is far from being the longed-for American dream. Just to give you an example, I met a Mexican immigrant in New York City who earns five dollars an hour working in the kitchen of a restaurant. He has to accept a job like that, because otherwise, how can he make a living? How do you feed yourself? When you’re “illegal,” the situation is harsh, and employers get abusive. And the most fucked up thing of all is that if you do not agree with what you receive, there is always someone on the street ready to take your job and to settle for such a miserable wage.

P: Your performances remind me of the tableau vivant that was historically used by painters. What is your process for building a live show? C.M: Sometimes I see my works as sculptures or small monuments created from corporeality; monuments that do not alienate the individual. I think if I weren’t a performer I would be a sculptor, both classic and conceptualist. In my work, there is a strong presence of aesthetics. Each work is drawn in the most realistic way that my manual skills allow me to. Regarding my conceptual process, once I’ve defined the subject I’m interested in working on, as related to the context where it is being performed, the next step is to look for the visual metaphor that gives substance to the idea. The most important things for me are ideas: getting an idea transmitted via an action in the most direct way possible, and then making sure the elements I use don’t distract or confuse the audience.

P: You have spoken about different audiences for your performances; from those in the gallery to the unexpecting public spectator, all the way through to the State itself. Do you imagine these different audiences when you build a work? C.M: Inside a gallery everything is more restrained: people control their spontaneous reactions, but I think they don’t do it because they want to, but rather because they’re within an institution. Somehow the institution has power and control over the audience. In a public space the norms are different, and even more so when the public is not part of the “art circuit.” If you see something that you don’t like, you leave; if you want to make a video of the performance with your phone, you do; if you want to laugh or scream in amazement, or recite a poem, you just do it. The gallery does not provide a passive space limited to the observation of consensual participation. I want to do a series of works in galleries where the public feels in conflict, who feel compelled to make a radical decision, to openly express displeasure or compassion, to leave the inertia of mere contemplation

Read the rest of the interview here. 

[anthronym]

Carlos Martiel, Cuerpo (2022)

“I remain hanging from the ceiling of the gallery with a noose around my neck. Various individuals take turns to hold me up and avoid my asphyxiation.”