Jorge López Pardo
1996 He graduates from the Oscar Fernández Morera Professional School of Plastic Arts. Trinidad, Sancti Spíritus, Cuba.
2012 11th Havana Biennial, San Carlos de la Cabaña, Havana, Cuba.
2010 Capital Humano (Human Capital), La Casona Gallery, Havana, Cuba.
2007 Reaching Beyond, PanAmerican Art Gallery, Miami, Florida, USA.
2012 CUBA, “Salt Fine Art” Gallery, California, USA.
2011 Landscape Salon, La Acacia Gallery, Havana, Cuba.
Migración (Migration), Pan American Art Gallery, USA.
Siniestro (Sinister), Habana Gallery, Havana, Cuba.
First Prize at the Digital Art Salon, Havana, Cuba.
50 en los 50 (50 in the 50s), La Acacia Gallery, Havana, Cuba.
2010 Encuentros (Meetings), Sala Retiro de Caja Madrid,
ArteAmericas 2010, Miami Beach Convention Center, Pan American Art Gallery, USA.
Paisaje en La Acacia (Landscape in La Acacia), La Acacia Gallery, Havana, Cuba.
Monomanías. Habana Gallery. Havana, Cuba.
Havana Auction, Havana, Cuba.
2009 PINTA (FRESH PAINT), Metropolitan Pavilion, New York, Pan American Art Gallery, USA.
Cuban Collective, Pan American Art Gallery, Dallas, USA.
2008 ARCO, Spain. La Casona Gallery. Havana, Cuba.
CIRCA, Puerto Rico, Pan American Art Gallery, USA.
Art Toronto, Canada. Pan American Art Gallery, USA.
Humanitarian Auction, UNEAC, Havana, Cuba.
Havana Auction. Havana, Cuba.
Toronto International Art Fair, Canada, Pan American Art Gallery, USA.
Art America, Pan American Art Gallery, Miami, USA.
2007 Project. Espacio Gallery. Madrid, Spain.
Art Miami. Pan American Art Gallery. Miami, USA.
Arte América. Pan American Art Gallery Miami, USA.
Basel-Latina. Switzerland. PanAmerican Art Gallery. USA.
PINTA (Fresh Paint), USA.
He has obtained numerous prizes and mentions in different contests, such as: First Prize at the National Digital Art Salon, Havana; Víctor Manuel Landscape Salon, Havana, and in landscape salons and provincial salons in Sancti Spiritus as well as in the Small Format Salon convoked by the UNEAC.
Silence, loneliness and motionlessness are the three categories that best define Jorge Lopez Pardo’s landscapes. In his works, time and space are submitted to perpetual lack of definition. The coordinates of past, present and future have been deprived of their normal logic, giving way to a chronothrope that endangers every historical perspective or concrete cultural horizon. (...) López’ images inhabit the insuperable anguish of silence and ambivalence; it’s as if they were detained in the midst of a temporary situation that transcends our reasoning capacity. They are a very strong blow to common sense and to the strategies of semiotic time-space association agreed by consensus. His reference is not reality but a bastard, false substitute, a system of signs operating in the levels of supra-reality. (...) The use – or better, the absence – of color, plays a determinant role to achieve that rarefied atmosphere boosted by the creator. Be it in the graffito drawings on canvas or in the oils and acrylics, the palette is almost always colorless, with brushstrokes of white, black and grays, which underline even more the uprooting of the real and the mystic and somber halo of the proposals.
Fragment from the text “La casa, el viejo y el faro: del sendero de la certidumbre al extravío de lo real” (The House, the Old Man and the Lighthouse: from the Road to Certainty to the Loss of Reality). By: Piter Ortega
In: Magazine Artecubano 1, 2008 pp. 79-81.