Ernesto Rancaño

Curriculum

Ciudad de La Habana, 1968
 
Education
1987 San Alejandro National Academy of Fine Arts

Member of the Association of Artists and Writers of Cuba (UNEAC) and of the International Association of Plastic Artists (A.I.A.P.)

Solo Shows
2012   La mitad de mi vida (Half of My Life), Vault D3, La Cabaña, 11th Havana Biennial, Cuba.       
2011  La carta que nunca te escribí (The Letter I Never Wrote You), 23 and 12 Gallery, Havana, Cuba.
De tus ojos la sal (From Your Eyes, the Salt), Sacramento Gallery, Portugal.
Recent Works, The Cuban Art Space. Center for Cuban Studies, New York, U.S.A.
2009 Abrazos Prohibidos (Forbidden Embraces), Habana Gallery, Havana, Cuba.
2008 Todo el tiempo de los cedros (All the Time of the Cedars), UNESCO headquarters, Paris, France.

Group Exhibitions
2011 Living in Havana, Marlborough Chelsea Gallery, New York, U.S.A.
Cuban Art Showcase, The Cuban Art Space of the Center for Cuban Studies. New York, U.S.A. Cuban Art Showcase, Korean Fine Arts Association, Daejeon Metropolitan City Branch, Korea.
Un minuto de silencio (A Minute of Silence), Casa Guayasamín. Havana, Cuba.
2010  Remake, Villa Lita Hall of the Servando Cabrera Museum, Havana, Cuba.
Sencillamente Korda (Simply Korda), Arquivo Municipal. Vila Real Sto. Antonio, Portugal.
Cuba pinta a Guayasamín (Cuba Paints Guayasamín), Guayasamín Foundation, Havana, Cuba.
Pieza única (Unique Piece). Contemporary Cuban Art, Auditorium of the Delegation of the Principality of Asturias, Madrid, Spain.
2009 Cuba pinta a Guayasamín (Cuba Paints Guayasamín), Quito, Ecuador.
Señales en el mar (Signals in the Sea), Avenida del Puerto, Historical Center of Havana, Cuba.
Mañana será demasiado tarde (Tomorrow Will Be Too Late). International Press Center, Tenth Havana Biennial, Cuba. 
2008 Homenaje a Carlos Enríquez. 70 Aniversario de El Rapto de las Mulatas (Tribute to Carlos Enríquez. 70th Anniversary of the Spanish-American Cultural Center, Havana, Cuba.
Este es el sitio del arte (This is the Place of Art), fifth anniversary of the TV program Sitio del Arte (Place of Art), La Casona Gallery, Havana, Cuba.
2007 Luz de tu ausencia. Homenaje a Celia Sánchez Manduley (Light of Your Absence. Tribute to Celia Sánchez Manduley), Convent of St. Francis of Assisi, Havana,Cuba.
Mural, together with Eduardo Abela, Chelsey Arts Club, London, England
Expo-Auction. Funds for the cause of the Cuban Five. Geneva, Switzerland.
Arte y Moda (Art and Fashion), National Museum of Fine Arts, Havana, Cuba.
Square One Gallery, London (together with Águedo Alonso and Flora Fong).

Prizes
2007 Diploma to Artistic Merit. Higher Institute of Art (ISA), Havana, Cuba.
2001 Djerassi Fellowship. San Francisco, California, U.S.A.

Fairs
2012 ArtMonaco Art Fair, Monaco. 
2011 JustMad Art Fair, Spain. Art Fair in Lisbon, Portugal. ArtMoscow 2011 Art Fair, Moscow.

Collections
National Museum of Fine Arts, Cuba; Cernuda Arte, Miami; Nina Menocal, Mexico City; Sting and Trudy Stayle, London; José Saramago, Valencia; Council of State, Cuba; National Council for Plastic Arts (CNAP), Cuba; Alicia Alonso; Marlborough Gallery, New York; Sean Penn; Governmental Palace of Miraflores, Venezuela; Museum Birthplace of Che, Rosario, Argentina, Collection Andrés Bello Project, Colombia; Djerassi Foundation, San Francisco, California; United Nations Headquarters, UN venue in Geneva, Switzerland; ICAIC, Cuba, Vilma Espín’s Birthplace Museum, Santiago de Cuba; Luciano Méndez. Sabadell Bank, representation in Cuba, Havana.

Statement

Ernesto Rancaño makes drawings and objects in which he handles themes such as the femininity, the bipolarity, the antagonistic, the absence. To him, life is a double-faced experience, and in presenting it he finds essential support in the beauty-ugliness, pleasure-pain dichotomy. His drawings, made with the technique of graffito on canvas with a realistic treatment of the human figure, are complemented by objects that question the beautiful or peaceful nature of the image; a sensual woman with her arms full of thorns or locked behind bars may be understood as example of a trend to the ironical commentary. In his latest works it is possible to appreciate the resource of absurdity to reflect on concepts such as loneliness and involution. He questions the idea of the beginning and end of natural processes, and creates objects in which he proposes a cyclic vision of the universe, based on the principle of equal poles.

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