Loredan Palace. Veneto Institute of Science, Literature and Art
Infinite in their non-restrictive and undetermined character, so happen to be the visual chronicles underlying in Carlos García Quinatana’s enormous canvases. Labyrinths of subjectivity, melting spaces where a symbolic over-elaborated style metamorphoses a mid-term universe, his works announce the imminent impotence of Gnosticism’s domain to re-establish the triumph of sentient over rational.
Enigmatic and mysterious just like his work, Quintana is a helpless nomad, a Cuban wanderer who knew how to immerse himself in opposite cultural experiences. In this wandering originating from his discomfort with his own circumstances, he explored both in collective memory and the great epic tales, as well as in the esoteric and oneiric fields. With subversive intensity, the artist unveils the circus incorporated in every society, opposing to unifying statements and outlines building-up an iconographic repertoire getting away from referentiality.
Quintana sketches an axis beyond time anchored to silence, as opposed to the frantic flood of TV images and internet’s omnipresent paroxysm. A cross look at his work brings us back that magic world view of a genuine, chaotic, lyrical, fickle and violent intellect full of recurrent and disproportionate obsessions. The eye of the world in transmuted painting, a feasible alternative to the tedious standardization, receptacle of an encyclopaedic and imprecise memory.
General Coordination and Production
Enrique Martínez Murillo
Rubén del Valle Lantarón
Isabel María Pérez Pérez
Coordination in Venice
Graphics and Image
Heidy Fernández Castillo
Ricardo Sánchez Cuerda
CARLOS QUINTANA ESTUDIO
FUNDACIÓN AMIGOS DE LA FUNDACIÓN LUDWIG DE CUBA
INGENIERÍA DEL ARTE