FABELO'S LITERARY ICONOGRAPHY TAKES OVER THE CERVANTES INSTITUTE
The Cervantes Institute in Madrid presents Roberto Fabelo. Grafomanía, an exhibition featuring 50 works by Roberto Fabelo (Guáimaro, Cuba, 1951), most of them related to literary worlds and dialogues with other artists. The exhibition includes references to Gabriel García Márquez, Miguel de Cervantes, Goya, and Hieronymus Bosch—figures of great influence on the Cuban artist’s work.
The exhibition spans nearly a decade of Fabelo’s work, highlighting twenty drawings on printed paper — selected from over 150 displayed works — that showcase his remarkable illustration technique. It also underscores his versatility in the use of materials and surfaces, including paper, silk, Kraft paper, and even large-scale sculptures—such as the imposing rhinoceros at the exhibition’s entrance.
Roberto Fabelo. Grafomanía explores the dreamlike and imaginary elements that connect with the literary universes of Cervantes and García Márquez. The latter was a close friend of Fabelo and entrusted him with illustrating a special edition of One Hundred Years of Solitude. This literary influence continues with Metamorphosis, inspired by Kafka, where the novel’s famous protagonist is reimagined as a two-headed figure.
Beyond literary references, the exhibition also presents other creatures and figures born from Fabelo’s imagination, forming a world that has become his signature style. Notable examples include Encadenado, depicting a person almost entirely bound in chains, and Venganza, where human and natural forces merge into irrational, Boschian-inspired beings.
The exhibition also features drawings on metal cauldrons, where everyday objects become artistic canvases. From The Struggle Continues to a portrait of his wife, Suyu, waving the Cuban flag atop a rooster, each piece carries the memory of its past use. These works stand alongside acrylics on embroidered silk and sixteen crayon drawings on cardboard, offering a rich and representative selection of Fabelo’s iconographic universe.
Roberto Fabelo. Grafomanía is open to visitors until May 11 at the Instituto Cervantes, Alcalá 49, Madrid, Spain.
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Antonio Pichillá (San Pedro de La Laguna, Guatemala) proposes a broad return to the atavistic and ancestral in his recent work, exhibited in the two venues of the Memoria gallery in Madrid under the title Abuela materna (Maternal Grandmother). This return should be understood beyond the mere construction or defense of an original identity, in order to encompass the full meaning the artist conveys through his work.
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Antonio Pichillá (San Pedro de La Laguna, Guatemala) proposes a broad return to the atavistic and ancestral in his recent work, exhibited in the two venues of the Memoria gallery in Madrid under the title Abuela materna (Maternal Grandmother). This return should be understood beyond the mere construction or defense of an original identity, in order to encompass the full meaning the artist conveys through his work.
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Amid the centenary of Surrealism, or at least from what is officially understood as its inception with the publication of The First Surrealist Manifesto by André Breton in 1924, it is truly significant to access an exhibition as profound as 1924: Other Surrealisms, presented by the MAPFRE Foundation in Madrid, which will later tour other locations. This exhibition is important for the centrifugal perspectives it presents, emphasizing the expansion of the main official—or officialism—ideas beyond Breton's boundaries and granting maximum importance to Latin America in the acceptance, production, and collaboration within the movement.
The Madrid branch of Travesía Cuatro gallery presents an exhibition dedicated to Miriam Inez da Silva (Trinidad, Brazil, 1939 – Rio de Janeiro, Brazil, 1996). Curated by Cristiano Raimondi, the show delves into the work of one of the artists who most vividly captured Brazil’s modernization throughout the 20th century. Her small-format paintings on white backgrounds depict everyday life and the traditions shaping human relationships and their role in social structures.
Antonio Pichillá (San Pedro de La Laguna, Guatemala) proposes a broad return to the atavistic and ancestral in his recent work, exhibited in the two venues of the Memoria gallery in Madrid under the title Abuela materna (Maternal Grandmother). This return should be understood beyond the mere construction or defense of an original identity, in order to encompass the full meaning the artist conveys through his work.
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Amid the centenary of Surrealism, or at least from what is officially understood as its inception with the publication of The First Surrealist Manifesto by André Breton in 1924, it is truly significant to access an exhibition as profound as 1924: Other Surrealisms, presented by the MAPFRE Foundation in Madrid, which will later tour other locations. This exhibition is important for the centrifugal perspectives it presents, emphasizing the expansion of the main official—or officialism—ideas beyond Breton's boundaries and granting maximum importance to Latin America in the acceptance, production, and collaboration within the movement.
LATIN AMERICA ON THE SURREALIST PERIPHERY: A HISTORIOGRAPHY BEYOND BRETON
Amid the centenary of Surrealism, or at least from what is officially understood as its inception with the publication of The First Surrealist Manifesto by André Breton in 1924, it is truly significant to access an exhibition as profound as 1924: Other Surrealisms, presented by the MAPFRE Foundation in Madrid, which will later tour other locations. This exhibition is important for the centrifugal perspectives it presents, emphasizing the expansion of the main official—or officialism—ideas beyond Breton's boundaries and granting maximum importance to Latin America in the acceptance, production, and collaboration within the movement.
The Madrid branch of Travesía Cuatro gallery presents an exhibition dedicated to Miriam Inez da Silva (Trinidad, Brazil, 1939 – Rio de Janeiro, Brazil, 1996). Curated by Cristiano Raimondi, the show delves into the work of one of the artists who most vividly captured Brazil’s modernization throughout the 20th century. Her small-format paintings on white backgrounds depict everyday life and the traditions shaping human relationships and their role in social structures.
Antonio Pichillá (San Pedro de La Laguna, Guatemala) proposes a broad return to the atavistic and ancestral in his recent work, exhibited in the two venues of the Memoria gallery in Madrid under the title Abuela materna (Maternal Grandmother). This return should be understood beyond the mere construction or defense of an original identity, in order to encompass the full meaning the artist conveys through his work.
NECESSARY ANCESTRALITY IN ANTONIO PICHILLÁ
Antonio Pichillá (San Pedro de La Laguna, Guatemala) proposes a broad return to the atavistic and ancestral in his recent work, exhibited in the two venues of the Memoria gallery in Madrid under the title Abuela materna (Maternal Grandmother). This return should be understood beyond the mere construction or defense of an original identity, in order to encompass the full meaning the artist conveys through his work.
Egogenesis is the title of the solo exhibition that Travesía Cuatro presents at its Madrid headquarters for Manuel Solano (Ciudad Satélite, Mexico, 1987), exploring the origins of the ego through personal experience. The exhibition consists entirely of self-portraits that pictorially express different manifestations of the “I” and the emergence of self-perception.
REAFFIRMATION OF THE EGO IN MANUEL SOLANO, AT TRAVESÍA CUATRO
Amid the centenary of Surrealism, or at least from what is officially understood as its inception with the publication of The First Surrealist Manifesto by André Breton in 1924, it is truly significant to access an exhibition as profound as 1924: Other Surrealisms, presented by the MAPFRE Foundation in Madrid, which will later tour other locations. This exhibition is important for the centrifugal perspectives it presents, emphasizing the expansion of the main official—or officialism—ideas beyond Breton's boundaries and granting maximum importance to Latin America in the acceptance, production, and collaboration within the movement.
LATIN AMERICA ON THE SURREALIST PERIPHERY: A HISTORIOGRAPHY BEYOND BRETON
Amid the centenary of Surrealism, or at least from what is officially understood as its inception with the publication of The First Surrealist Manifesto by André Breton in 1924, it is truly significant to access an exhibition as profound as 1924: Other Surrealisms, presented by the MAPFRE Foundation in Madrid, which will later tour other locations. This exhibition is important for the centrifugal perspectives it presents, emphasizing the expansion of the main official—or officialism—ideas beyond Breton's boundaries and granting maximum importance to Latin America in the acceptance, production, and collaboration within the movement.
The Madrid branch of Travesía Cuatro gallery presents an exhibition dedicated to Miriam Inez da Silva (Trinidad, Brazil, 1939 – Rio de Janeiro, Brazil, 1996). Curated by Cristiano Raimondi, the show delves into the work of one of the artists who most vividly captured Brazil’s modernization throughout the 20th century. Her small-format paintings on white backgrounds depict everyday life and the traditions shaping human relationships and their role in social structures.
