sobre René Francisco about René Francisco

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2 sobre René Francisco Conhecido por sua prática que investiga, de forma consistente, questões referentes à identidade nacional cubana e justiça social, René Francisco é amplamente reconhecido como um dos mais influentes artistas cubanos em atividade. Determinado a promover a interação entre estudantes e professores, criou a Galería DUPP, Desde una Pedagogia Pragmática em Personalidade internacional e professor de longa data na Escuela Nacional de Arte and Instituto Superior de Arte, em Havana tendo ensinado alguns dos mais famosos artistas da nação, como Los Carpinteros, Alexandre Arrechea e Wilfredo Prieto, René Francisco desempenhou um papel importante na compreensão dos artistas cubanos de seu próprio contexto cultural e da articulação da cubanidade com o público de arte no mundo todo. Um influente ativista, artista e docente, René adota uma abordagem artística que sobrepuja o conceito de fragmentação ou diferença social, apresentando reflexões sobre a nacionalidade cubana na iminência de um novo e importante capítulo político para o país. René Francisco nasceu em Holguín, Cuba, em 1960, e mora e trabalha em Havana. Foi ganhador de diversos prêmios internacionais, entre eles o Prêmio UNESCO (2000) e o Prêmio Nacional de Artes Plásticas de Cuba (2010), e suas obras foram apresentadas em exposições individuais e coletivas nos Estados Unidos, Américas Central e do Sul e Europa, bem como na Bienal de Veneza (1999 e 2007), na 26ª Bienal de São Paulo (2004), na 2ª Bienal de Salônica (2009) e na Bienal de Havana (1997 e 2000). about René Francisco Known for a practice that has consistently explored issues of Cuban national identity and social justice, René Francisco is widely recognized as one of the most influential Cuban artists working today. His determination to create interaction between students and professors led him to create Galería DUPP, Desde una Pedagogia Pragmática in As an international figure and a longtime professor at Havana s Escuela Nacional de Arte and Instituto Superior de Arte teaching some of the nation s most well-known artists, including Los Carpinteros, Alexandre Arrechea, and Wilfredo Prieto René Francisco has played an important role in defining how Cuban artists understand their own cultural context and how Cuban-ness is articulated to the art viewing public worldwide. Influential as an activist, artist, and teacher, his approach to art exceeds the notion of fragmentation or social difference, presenting reflections on Cuban nationality at the crossroads of an important new political chapter for the country. Born in Holguín, Cuba in 1960, René Francisco lives and works in Havana. A winner of many international prizes, including the Premio UNESCO in 2000, and the Premio Nacional de Artes Plásticas de Cuba (2010), his work has been exhibited in solo and group exhibitions in the United States, Central and South America, and Europe, and in biennials such as the Venice Biennale (1999 and 2007), the 26th Bienal de São Paulo (2004), the 2nd Thessaloniki Biennial (2009), the Havanna Biennial (1997 and 2000).

3 Entropía is a reflection both on Cuba today and society more broadly. These works re-envision the significance of shared national history and identity, allowing viewers to reflect on the evolving influences that shape their perception of themselves and their communities. This series is particularly relevant in the context of the proposed restoration of diplomatic relations between Cuba and the United States. As the world turns to Cuba during this time of great change we, too, are examining ourselves through that shifting gaze. (René Francisco) entropia/entropy

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5 Entropía (2015), an installation of metal pipes and mesh, forming a netting that spans expanses of the exhibition, and divides and defines the space. Several screens are installed in the metal netting, each depicting videos produced by the artist to underscore a sense of searching.

6 A Shoot of Dreams (2015), sculptural installation containing video footage of an Obama impersonator walking the streets of Havana and stopping at Factoría Havana s bar, where he stops to have a drink with the artist and his friends, while onlookers pull out smart phones and snap photos. Hi Mango (2015), a video and sculptural installation re-envisioning an Apple laptop as a distinctly Cuban computer the Hi Mango. The piece is accompanied by a video of the artist as Steve Jobs, imitating the iconic Jobs product launch speech and discussing the significance of the mango in Cuban culture.

7 Vamos (2015), an acrylic self-portrait borrowing iconography from revolutionary posters of the 1960s. Though the work reflects the optimism and energy of early revolution posters, the iconography is shifted to depict a reframing of the ideals, beliefs, and processes of revolutionary change.

8 esculturas e instalações/ sculptures and installations

9 Taller de Reparaciones 1997 técnica mista/mixed media -- dim varáveis/variable dim vista da exposição/exhibition view Sexta Bienal de La Habana. Complejo Cabaña, Havana, 1997

10 Quanto Más Acuáticos, Más Sensuales Somos 2001 tubos de pasta de dente/toothpaste tubes x 24 cm Collection 21C Museum, Louisville Kentucky, USA vista da exposição/exhibition view Tubosutra. Museo Goch, Goch, Germany, 2001

11 Baño público 2002 técnica mista, rolos de papel higiênico e tubos de pasta de dente/mixed media, paper rolls, and toothpaste tubes x 225 x 5 cm. vista da exposição/exhibition view Pasta Cortada. M.A. Contemporary Gallery, Berlin, 2005

12 Salto al lleno 2002 tubos de pvc/pvc tubes -- dim varáveis/variable dim vista da exposição/exhibition view Overtures über Wasser. Gelsenkirchen, Germany, 2002

13 Todo uso es un abuso 2002 tubos galvanizados/galvanized tubes -- dim varáveis/variable dim vista da exposição/exhibition view Todo uso es un abuso, Casa de las América, Havana, 2002

14 Marcha sin perspectiva tubos pvc/pvc tubes X 3000 cm

15 Agua cortada 2005 tubos de pasta de dente, metal/toothpaste tubes, metal -- dim varáveis/variable dim vista da exposição/exhibition view Pasta Cortada. M.A. Contemporary Gallery, Berlin, 2005

16 La ruta del amor promiscuo 2012 metal, tubos de pasta de dente, pneus/metal, toothpaste tubes, rubber tires -- dim varáveis/variable dim vista da exposição/exhibition view Work in Progress. Xin Dong Cheng Space for Contemporary Art, Beijing, 2012

17 El agua que tienes que ver 2012 metal, china ink sobre tela/metal, china ink on canvas -- dim varáveis/variable dim vista da exposição/exhibition view Work in Progress. Xin Dong Cheng Space for Contemporary Art, Beijing, 2012

18 Si tu entrás 2012 cubo, espelho, tubo de pasta de dente/cube, mirror, toothpaste tubes x 40 x 90 vista da exposição/exhibition view Casa Daros, Rio de Janeiro 2012

19 Ven y dame una mano 2012 lápis, tubos de pasta dental, madeira e objetos/pencils, toothpaste tubes, wood and objects -- dim varáveis/variable dim vista da exposição/exhibition view Casa Daros, Rio de Janeiro 2012

20 René Francisco s paintings are a graphic representation of the communist social structure, the supremacy of a collective erasing the existence of the individual under the false pretense of a common welfare. Cuba, as a communist country, is no exception to that rule and there is very little that anybody can do to express individuality. René is reflecting the frustration of the common person, the effort made to keep that unique presence. A very distinctive feature of René Francisco s painting is texture. He achieves this effect by the way he applies oil to his canvases. Instead of a brush, he uses the actual oil tube, resulting in a sort of contemporary pointillism. The final effect seems more like a dotted surface where the colors are almost pure, one beside another, its clean effect is reinforced by the use of a light palette in most of his paintings. He includes words in the works, usually the title, as a way of reinforcing his message. In a way he is replicating the way that propaganda is made, the usual combination of text and a simple image. This is his manner of criticizing communist propaganda and its endless cacophony. pinturas e desenhos/paintings and drawings The deliberate, apparent repetition of the compositions are intended to reinforce the idea of the uniformity of a mass, the impression of being lost in what seems like a sea of people. The sensation produced is the same that a person could feel: trapped, invisible and misplaced, losing their identity to become part of a homogenous group. His focus on the sense of being swallowed by this wave of people is present in these paintings, transmitting a claustrophobic sensation. In short, his paintings are a visual expression of the atmosphere of Cuba. He is reflecting on the collective state of mind of a people engulfed by the utopian ideal - the dream of a perfect society - which was never fulfilled, and who can now only espace into his titled: Heaven, Hope, Dream Irina Leyva-Perez

21 Filigrana 2003 óleo sobre tela/oil on canvas x 208 cm projetor, 100 diapositivas color/projector, 100 colored slides Collection of Karen and Robert Duncan-Lincoln, Nebraska, USA. vista da exposição/exhibition view Ajuste de cuentas. Octava Bienal de la Habana. Museo Nacional de Bellas Artes, Havana, 2003

22 A la ca(zs)a de Rosa 2004 óleo sobre tela/oil on canvas x 250 cm filme (17 minutos, form DVD) registro do trabalho feito na casa de Rosa, Barrio El Romerillo /film (17 minutes, DVD), documentation of an action performed at Rosa s house, Barrio El Romerillo Collection 21C Museum, Louisville, Kentucky, USA

23 Escala de valores 2004 óleo sobre tela/oil on canvas x 208 cm projetor, 100 slides coloridos de casas cubanas de diferentes classes sociais/projector, 100 colored slides of Cuban houses of different social strata Collection Teófilo Cohen, Mexico City

24 En todas direcciones 2009 óleo sobre tela/oil on canvas x 46 cm Collection Xin Don Cheng, Beijing, China Incendiarios 2010 óleo sobre tela/oil on canvas x 50 cm

25 sem título/untitled 2008 óleo sobre tela/oil on canvas x 248 cm

26 Cubo Cuba 2009 óleo sobre tela/oil on canvas x 120 cm Collection Xin Don Cheng, Beijing, China

27 Amor-Odio 2010 óleo sobre tela/oil on canvas x 200 cm

28 Heaven 2010 óleo sobre tela/oil on canvas x 400 cm Collection Luis Osvaldo Pastore, São Paulo, Brazil

29 Nuevos ricos 2010 óleo sobre tela/oil on canvas x 200 cm Collection Steve Vermut, San Francisco, CA

30 Fábrica de utopías óleo sobre tela/oil on canvas x 180 cm Collection Daros, Zürich, Switzerland

31 Desarrollo óleo sobre tela, madeira e peças de acrílico/oil on canvas, wood and acrylic pieces x 62 cm

32 viejo verde/viejo verde Museo Nacional de Bellas Artes, Havana, 2011

33 Viejo verde 2011 óleo sobre tela, madeira/oil on canvas, wood x 215 cm vista da exposição/exhibition view Viejo verde. Museo Nacional de Bellas Artes, Havana, 2011

34 vista da exposição/exhibition view Viejo verde. Museo Nacional de Bellas Artes, Havana, 2011

35 No más soldados 2011 óleo sobre tela, madeira/oil on canvas, wood x 250 x 200 cm DVD player, data show e video digital, 14:34 /DVD player, slideshow and digital video, 14:34 vista da exposição/exhibition view Viejo verde. Museo Nacional de Bellas Artes, Havana, 2011

36 vista da exposição/exhibition view Viejo verde. Museo Nacional de Bellas Artes, Havana, 2011

37 Patio de Nin Patio de Nin is a trilogy I have been working on since April 2003, when I started a survey to help several persons who live in extremely difficult conditions in a poor neighborhood of Havana: El Romerillo. I approached the neighbors directly with my video camera, walking the streets, knocking at the doors and asking the following question: How many years have you been living in this neighborhood? Who, in your opinion, is the person most in need, most abandoned from among your neighbors, who has not received what he/she deserved? If someone were to receive a big present or a reward, would that be the right person? Do you think that person is really in need and prepared to receive that help? The survey among forty four persons showed three who met these requirements: Rosa Estévez, Nin Ochoa, and Daniel Pérz, whom I visited and with whom I chatted to inquire about their immediate needs, their wishes, frustrations and goals. All three of them informed of similar needs because poor housing conditions are a common problem, but each one spoke of his/her life as an individual treasure. Nin (Marcelina Ochoa) is an 88 year old lady, who has problems with walking as a result of a chronic lymphangitis; she is commonly ill and with numerous ailments of old age. Every morning, one of her children sits her in the porch to get some air and watch the day go by. Everything she saw from her chair was waste, junk, bottles, cans, dirty water from eventual rubbish dumps created by time and negligence, pieces of floor tiles, mud, improvised clotheslines and a whole imagery of rubbish that piled up in the place. My idea was to satisfy these needs and turn the backyard into a sort of enchanted garden. The repair and construction work was put in motion by the imagination and the will not only of Nin but of her son, a master in building. obras de inserção social/art and social change Agua Benita The origin of this work is the motif of water, although its main subject deals with the complex interpersonal situations in which the participants become involved. This artistic experience belongs to that diffuse field where art attempts to enter into, or interfere, in everyday life. Entering a private environment requires its protagonists to make temporary sacrifices before being able to arrive at mutual gratification. Our mutual willingness (hers towards my work and mine to her desire) is like a gift from one to the other. Benita obtains the improvement of her roof, the circulation of running water and the satisfaction of acquiring a more pleasant life. I get a theme for my work, the pleasure of planning a hydraulic system tailored to the place, amazing photographs and a great experience of a practice that is specific to art.

38 Agua Benita 2008 documentação de uma ação/documentation of an action

39 Patio de Nin documentação de uma ação/documentation of an action

40 Patio de Nin documentação de uma ação/documentation of an action

41 Pinturas sob Encomenda Grátis 2012 documentação de uma ação/documentation of an action

42 Pinturas sob Encomenda Grátis 2012 documentação de uma ação/documentation of an action

43 Tirame una foto 2009 documentação de uma ação/documentation of an action

44 Carta tecnológica and Tubosutra Carta Técnológica, consists of a collection of objects and materials which resembled those depicted, thus implying that representation itself, as an artist s charter may likewise be regarded as a utensil. It denotes a constantly available artistic potential which remains forever unexploited. Here René Francisco alludes to the Cuban artist s obligation towards society, an obligation which is more or less taken for granted, yet never has to be fulfilled. pinturas e desenhos/paintings and drawings Tubo Sutra, a series by René Francisco from the years 98, 99 and 2000, reveal intimacies, as opposed to anecdotes, the artist s personal life. Exploring ideas centered on eroticism, sensuality, sexuality, and promiscuity, these kamasutra tube like figures appear in multitude. As the artist comments If you include three thousand tubes in a piece, that makes three thousand persons acting, three thousand persons in those erotic positions. In Tubo Sutra, the human body has slipped into a paint tube or, to be more precise, the artist has created an artificial, tube shaped figure, which, headless and hence devoid of individuality, demonstrates all the diverse and highly imaginative positions that are possible when performing the sexual act. In many ways, it is through these artificial figures that the artist tell us stories from his life. They are experiences of life in a country which, for all its palm trees swaying gently in the breeze, for all its sun drenched beaches and for all its dolce vita, is nevertheless under Communist rule, with all its shortcomings and political constraints. No matter how carefree and easy going they may seem, these same tubes also have a serious and thought provoking side to them.

45 Pozo de Smithson, pozo de Alexis 1997 giz de cera, china ink sobre tela/crayon, china ink on canvas x 450 cm Collection Daros, Zürich, Switzerland

46 Estudio para pozo provisional 1997 giz de cera sobre tela/crayon on canvas x 610 cm Collection of the artist

47 Proyecto para Pozo Tubosutra 1998 tinta sobre tela/paint on canvas x 200 cm cada/each Collection Consejo Nacional De Artes Plásticas, La Habana, Cuba

48 In-cesto 1999 china ink sobre tela/china ink on canvas x 130 cm Collection of the artist

49 Dinamita 1999 china ink sobre tela/china ink on canvas x 220 cm Collection of the artist

50 Churre De René (Public Toilet) 2001 acrílica sobre tela, cortina de banho/acrylic on canvas, shower curtain x 200 Collection of the artist

51 Cortina de Baño acrílica sobre plástico/acrylic on plastic x 740 cm

52 Las figuras y las sombras 2001 acrílica, china ink sobre tela/acrylic, china ink on canvas x 474 cm Collection Ella Fontanals Cisneros, Miami, FL. USA

53 Gato 2005 china ink sobre tela/china ink on canvas x 207 cm Collection Daros, Zürich, Switzerland

54 trabalhos em colaboração com Eduardo Ponjuán works in collaboration with Eduardo Ponjuán pinturas e desenhos/paintings and drawings In 1989, René Francisco and Eduardo Ponjuán, two young Cuban artists who at the time were working together, mounted an exhibition of seemingly frivolous logicality in the Castillo de Fuerza in Havana. They provoked a conflict ot the kind which avant-garde artists of the 20th century have provoked time and time again: the conflict between the poetical and political violence. A whole series of works depicting Fidel Castro had to be removed from the exhibition, for they showed the maximum leader neither as a folk hero in the style of Socialist Realism nor - and this would have been acceptable - as a super star. What these works showed, rather, was Castro s unmistakable profile - half imago, half logo - as a kind of trademark of the zeitgeist, placed by the artists as accurately as the punch line of a good joke. Artists like René Francisco began working at a time when the cultural policy of the Cuban government - parallel to the ideological relativism of the eighties - relinquished the hitherto dominant Soviet style doctrine of Socialist realism and, instead, sought the alternatives in traditions of genuinely Cuban origins. While the Soviet Union was proclaiming glasnost and perestroika and the postmodern pluralism of the West was deconstructing avant-garde messages of salvation, Cuban began to hark back to her partly European, partly Afro-Cuban heritage, a heritage which was in evidence everywhere, and especially in the trivial products of mass culture, including Pop and Kitsch.

55 Morir por la patria es vivir óleo sobre tela/oil on canvas 55 x 40 x 1 cm Collection of Museo Nacional de Bellas Artes, Havana (em colaboração com/in collaboration with Eduardo Ponjuán) Continuará (Malevich continuará) 1989 óleo sobre tela, madeira, tubo de pintura/oil on canvas, wood, pain tubes 100 x 100 cm Collection Peter Ludwig Aachen, Aachen (em colaboração com/in collaboration with Eduardo Ponjuán)

56 Utopía 1991 óleo sobre tela/oil on canvas peças/05 pieces 220 x 100 cada/each Collection Peter Ludwig Aachen, Aachen (em colaboração com/in collaboration with Eduardo Ponjuán)

57 Nuevo, New, Noveau 1992 óleo sobre tela, vara de pescar, anzol/oil on canvas, fishing rod x 500 Collection Patricia and Howard Farber (em colaboração com/in collaboration with Eduardo Ponjuán) Construcción Lineal 1992 óleo sobre tela/oil on canvas x 154 (140 x 120) cm Collection Xin Don Cheng, Beijing, China (em colaboração com/in collaboration with Eduardo Ponjuán)

58 Outside Cuba Inside 1993 óleo sobre tela/oil on canvas x 120 cm Collection Peter Ludwig Aachen, Aachen (em colaboração com/in collaboration with Eduardo Ponjuán)

59 Retrato de Peter Ludwig (detalhe/detail) 1993 óleo sobre tela/oil on canvas x 200 cm Collection Daros, Zürich, Switzerland (em colaboração com/in collaboration with Eduardo Ponjuán) Retrato de Wolfgang Becker (detalhe/detail) 1993 óleo sobre tela/oil on canvas x 150 cm (em colaboração com/in collaboration with Eduardo Ponjuán)

60 n./b. 196o holguín, cuba vive e trabalha em havana/lives and works in havana formação / education 1980 Formado em Artes Plásticas/Bachelors in Fine Art, Escuela Nacional de Arte and Instituto Superior de Arte (ISA), Havana, Cuba exposições individuais selecionadas / selected solo exhibitions 2015 Entropia, Factoria Habana, Havana, Cuba 2012 Work in Progress, Xin Dong Cheng Space for Contemporary Art, Beijing, China 2011 Viejo verde, Museo Nacional de Bellas Artes, Havana, Cuba 2010 Pinturas del Ayer y del Mañana, Galería Servando, Havana, Cuba 2009 Intérprete, Décima Bienal de La Habana, Galería Villa Manuela, Havana, Cuba No más soldados, Salle Zèro (Espacio de Video Creación), Alianza Francesa, Havana, Cuba 2008 René Francisco Events. The Modern Fuel Artist, Kingston, Canada 2006 Patio de Nin (Novena Bienal de La Habana), Centro de Negocios de Miramar, Havana, Cuba 2005 Pasta Cortada, M.A. Contemporary Gallery, Berlin, Germany Trabajo social (Exposición colateral al Salón de Arte de Matanzas), Centro Provincial de Arte de Matanzas, Matanzas, Cuba 2003 Ajuste de cuentas (Octava Bienal de la Habana), Museo Nacional de Bellas Artes, Havana, Cuba Cositas sueltas, Schloss Wiepersdorf, Germany 2002 Todo uso es un abuso, Casa de las Américas, Havana, Cuba Abajo René Francisco, Galería 106, Austin, USA 2001 Tubosutra, Museo Goch, Goch, Germany 2000 Humano demasiado, humano, Galería Residencia Herzliya, Tel Aviv, Israel 1999 Tubosutra. Galería Habana, Havana, Cuba 1997 Autorretratos (con Tonel y Eduardo Ponjuán), Galería Or, Vancouver, Canada 1996 Call Malevich (con Eduardo Ponjuán), Kunshtalle, Düsseldorf y Kunstverein Lingen, Germany El Cumpleaños de Malevich, Centro de Arte Contemporáneo Wifredo Lam, Havana, Cuba 1994 Vuelo (con Eduardo Ponjuán), Ifa-Galerie Friedrichstrasse, Berlin, Germany Muestra del mes (con Eduardo Ponjuán), Espacio Aglutinador, Havana, Cuba 1993 Arte y Confort (con Eduardo Ponjuán), Galería Nina Menocal, Mexico City, Mexico 1992 Ven y dame una mano, Centro de Arte 23 y 12, Havana, Cuba 1989 Artista Melodramático (con Eduardo Ponjuán), Castillo de La Real Fuerza, Havana, Cuba 1988 Lectura II (con Eduardo Ponjuán), Centro Provincial de Arte Plásticas y Diseño, Havana, Cuba 1985 Confluencias, Centro de Arte de Pinar del Río, Pinar del Río/ Biblioteca Alex Urquiola, Holguín, Cuba exposições coletivas selecionadas / selected group exhibitions 2015 Cuba Ficción y Fantasía: Cuban Art From Daros Latinamerica Collection, Casa Daros, Rio de Janeiro Mensagem de Uma Nova América, 10ª Bienal do Mercosul, Porto Alegre, Brazil 2013 La otra Bienal (René Francisco-Fidel Yordán Castro), Museo de la Perseverancia, Bogotá, Colombia 2012 I Trienal de Tbilisi (con 4ta Pragmática), Fine Art Museum, Tbilisi, Georgia Ciudad Generosa (con 4ta Pragmática), Oncena Bienal de La Habana, 3era y E, Vedado, Havana, Cuba Entre Trópicos, Caixa Cultural, São Paulo, Brazil 2011 Ya sé leer, Centro de Arte Contemporáneo Wifredo Lam, Havana, Cuba

61 Trust, Factoría Habana, Havana, Cuba Cuban Visions, Metropolitan Pavilion, New York, USA 2010 Retratos Cubanos, Centro de Arte Contemporáneo Wifredo Lam, Habana, Cuba Cuba avant-garde. Xin Dong Cheng Gallery, Beijing, China 31 Bienal de Pontevedra, Utrópicos, Centroamérica y Caribe, Pontevedra, Spain 2009 XX años no son nada, Centro de Desarrollo de las Artes Visuales, Habana, Cuba Antecomienzo. Factoría Habana, Habana, Cuba Overtures, Cultural realms in the post-fossil age, artcircolo news, Munich, Germany Confluencias - Inside Arte Cubano Contemporáneo, National Hispanie Cultural Center Albuquerque, Canada Presence, UNT Galleries, Univercity of North Texas Art Gallery, Denton, USA Overtures/ artcircolo en Eine Weltreise, Ars Electronica, Voestalpine y Linz09, Austria 2nd Thessaloniki Biennale of Contemporary Art, Greece Plaza Almada, Centro de Desarrollo de las Artes Visuales, Havana, Cuba Assume nothing, New social practice, Art Gallery of Greater Victoria, Canada 2008 Cartografías de una isla de ultramar, Museo Nacional de Bellas Artes, Havana, Cuba Lugares comunes:la experiencia colectiva en el video latinoamericano, Centro José Guerrero, Granada, Spain Territorios, Arte Latinoamericano Contemporáneo. Castello Aragonese, Otranto, Italy Post-it city. Ciudades ocasionales-internacional. CCCB, Barcelona, Spain 2007 Nuevas tecnologías, Espacios de arte contemporáneo, Universidad de Salamanca, Salamanca, Spain Balelatina Basilea Foundation, Basel, Switzerland 52ª Bienal de Venecia, Pabellón Latinoamericano, Venice, Italy Killing time (segunda versión ampliada de Waiting List). Exit Art, New York, USA 2006 Waiting List, Mestna Galerija, Ljubljana, Slovenia Rising Stars: North Latin Americans, Art Loves Design Program. Art Basel Miami Beach 06, Miami, USA Art Forum. Galería Nina Menocal, Berlin, Germany Del otro lado del atlántico, Galería Sacramento, Aveiro, Portugal Fantastic frameworks, Architectural Utopias + Designs for life, Art Gallery of Greater Victoria, Canada Fast Forward, Centro Cultural Cinematográfico Fresa y Chocolate, Havana, Cuba Ciudades internas: Habana-Berlín (Novena Bienal de La Habana), Centro Provincial de las Artes plásticas y Diseño, Havana, Cuba La huella múltiple, Convento San Francisco de Asís, Havana, Cuba 2004 Just on Time, Galería Habana, Havana, Cuba 26 Bienal de São Paulo, São Paulo, Brazil Unknown Sister, Unknown Brother, Kunsthaus Dresden, Desdren, Germany Cuban artists in residence, Mattres Factory, Pittsburg, Philadelphia, USA Massa Dammata. Galerie Refugium, Berlin, Germany Art Cologne, Galerie Refugium, Cologne, Germany 2003 Sentido Común, Galería Habana, Havana, Cuba Maneras de inventarse una sonrisa, Centro de Desarrollo de las Artes Visuales, Havana, Cuba Feria Art Basel, Miami, USA 4D, Proyecto Rain, Colateral Bienal de La Habana, Pabellón Cuba, Havana, Cuba 2002 With eyes of stone and water, City Art Museum, Helsinki, Finland 2: 12, (con Felipe Dulzaides) San Francisco Art Comission Gallery, San Francisco, USA Overtures über Wasser, Gelsenkirchen, Germany 2001 Transform: 8 artistas en Trieste, Trieste, Italy Cuba Contemporánea, Galería DUPP, MAC, Brazil Hello Cuba Breaking Barriers (con Galería DUPP), Tallahassee, USA 2000 Havana Nagila, Cuba - Israel: Dialogue, Tel Aviv, Israel 1,2, 3 Probando, Séptima Bienal de La Habana (con Galería DUPP), Castillo de Los Tres Reyes, Havana, Cuba Forum internacional de escultura CODEMA 2000, Avenida del Puerto, Havana, Cuba 1999 Big River, Workshop Grand Riviere, National Museum, Trinidad y Tobago 48a Bienal de Venecia, Pabellón Latinoamericano, Venice, Italy Arte cubano, Más allá del papel, Centro Wilfredo Lam, Havana, Cuba Ironía y supervivencia en la isla utópica, Arizona State University Art Museum, Arizona; Center for the Arts at Yerba Buena Garden, San Francisco; Cranbrook Art Museum, Michigan; Austin Museum of Art; Grand Rapid Art Museum, Miami; Museum Latin American Art, Long Beach; University Art Museum, Santa Barbara; Spencer Museum of Art, USA 1998 La dirección de la mirada. Museo de Bellas Artes La- Chaux- De-Fonds, Zurich, Switzerland II Salón de Arte Contemporáneo (CDAV), Havana, Cuba 1997 Taller de reparaciones, Sexta Bienal de La Habana, Complejo Cabaña, Havana, Cuba I Bienal Iberoamericana, Casa Rimac, Lima, Peru Utopian Territories: New Arts from Cuba, Morris & Helen Belkin Gallery, Vancouver, Canada 1996 A dentro-a fuera, Walter Phillips Gallery, Calgary, Canada 1995 Una de cada clase, Centro Nacional de Conservación, Restauración y Museología, Fundación Ludwig de Cuba (CENCREM), Havana, Cuba

62 1994 Sueño, Arte y Mercado, Quinta Bienal de La Habana, Centro Nacional de Conservación, Restauración y Museología, Havana, Cuba 1992 Avantgarde & Kampangne, Kunshtalle, Düsseldorf, Germany Von Dort aus: Kuba. Foro Ludwig para la Cultura Internacional, Aachen, Germany La época prodigiosa. Museo del Chopo, Mexico City, Mexico 1991 Arte Cubano Actual. Cuarta Bienal de La Habana, Villa Panamericana, Habana del Este, Havana, Cuba 1990 El objeto esculturado, Centro de Desarrollo de las Artes Visuales, Havana, Cuba 1988 No es solo lo que ves, Facultad de Artes y Letras, Universidad de La Habana, Habana, Cuba 1985 XXIV Patronat Premió Dibuix Joan Miró, Barcelona, Spain Prêmios / Awards National Award in Plastic Arts 2010, Cuba Honorary Doctorate of San Francisco Art Institute, California, USA, 2001 UNESCO (with Galería DUPP), Seventh Havana Biennial, Cuba, 2000

63 René Francisco é representado pela Galeria Nara Roesler. Para mais informações, textos, currículo, por favor contacte René Francisco is represented by Galeria Nara Roesler For more information, essays, full cv, please contact the gallery at