The Cuban Art Alliance mission is to promote the work of Cuban artists living outside of Cuba
Ivonne Ferrer is a Cuban-born artist who trained in the island during the 1980s. Following an initial solo exhibition of her works in Havana, Atribuciones (Fidelio Ponce Galley, 1990) that led her to take her first steps as a professional, she leaves her country of birth and moves to Madrid, where her reputation as an artist is solidified and where she quickly attains a place of prominence following two new solo exhibitions, La temperature de Dios (1993) and Fisiología decorative (1994). She also participates in numerous other projects and collective exhibitions that extend her radius of influence to other European countries: La isla mágica in Copenhagen, together with two masters, the Cuban Julio Girona and the Spaniard Fernando Somosa, and Fresca y bajita de sal in Genoa, Italy, with Aldo Menéndez, closing the period with a solid production for Expo Uniersal Sevilla 92, Arts Pavillion, indisputable proof that Ms. Ferrer had secured for herself a place in the international arts arena. It is at this time that the firm Arte y Naturaleza begins to represent her, and she works with them for the next 10 years during which time the company becomes a market leader in Spain, sponsoring artists of the stature of Canogar, Genoves, Dennis Oppenheim, Sol LeWitt, Cristo, Rotella, Kcho, Bedia and Manolo Valdez, among others.
Ivonne moves to the United States in 1995 and has since divided her time between Europe and Florida. After settling down in Miami in the late 1990s, her style morphs from an initial period defined by its proximity to Neo-Abstractionism, to a form of expression that falls within open realism that may be described as an extension of Pop Art mixed with compositions where she manipulates urban construction components, a phase that culminates with the 1996 exhibition Trinomio cubano that opened at Botello Gallery in Hato Rey. Here she again shares the stage with Aldo and his son Aldo Damián. The German critic and painter H.W. Platchek has said of this repertoire “…metropolises mixed with different corners of the world where the artist has lived (…) floating architectonic fragments like futuristic ships that barely flicker between beams of light (…) urban Spanglish flavored with parody (…) its mystique never gory, just perhaps disturbing…”
Aldo Menendez was born in Cienfuegos, Cuba in 1948. He is a multifaceted creator: painter, graphic designer, silk screen painter, art critic, curator and author of several art monographs. In this book he has worked as a coordinator, editor and also participated as a writer and visual artist.
Menéndez, in conjunction with the master Samuel Feijoo, is one of the driving forces behind the Performance movement in Cuba. He is also one of the pioneers of photorealism on the island, and in addition played a key role in the development of Latin American serigraphy art. He is the founder of the legendary Taller Portocarrero of Havana.
He is considered a veritable expert and a promoter of the arts. In 1972, five years after leaving the Cubanacan National Art School, he was incorporated into the permanent collection of the National Museum of Fine Arts of Havana. In the 1980s, he was part of the Plastic Arts Assessment Board and the assessment boards of the aforementioned National Museum and the Wifredo Lam Center.
In 1987, the Ministry of Culture of the Republic of Cuba awarded him the National Order of Cuban Culture. He left his country in 1990, moving to Spain and subsequently to the United States.
Board of Directors