Reynier Leyva Novo


2004-2008  Higher Institute of Art (ISA) (unfinished studies).
2007 Conduct Art Chair, led by Tania Bruguera.
2003 San Alejandro Academy of Fine Arts.
1998 José Antonio Díaz Peláez Experimental Art Center

Exhibitions and Other Activities
2012 El deseo de morir por otros (The Wish to Die For Others), Colegio San Gerónimo, 11th Havana Biennial, Cuba.
Colección Novo Aniversario (New Anniversary Collection, Bernice Steinbaum Gallery, Miami, Florida, U.S.A.
2010 Deporte Nacional (National Sport). Salle Zéro, Alliance Française of Cuba, Havana, Cuba.
2009 50th Anniversary Collection, Development Center for the Visual Arts, Havana, Cuba.
El patriota invisible (The Invisible Patriot)(staging), collateral to the 10th Havana Biennial, National Museum of Fine Arts, Havana, Cuba.
Por un trillo sin fin (Following an Endless Path). Collateral to the 10th Havana Biennial, Museum of Colonial Art, Havana, Cuba.

Group Exhibitions
2012 Detrás del muro (Behind the Wall), Malecón de la Habana, 11th Havana Biennial, Cuba.
HB Arte Cubano Contemporáneo (HB Contemporary Cuban Art), Pabexpo fairground, collateral to the 11th Havana Biennial, Cuba.
2011 Círculos (Circles), Elba Benítez Gallery, Madrid, Spain.
Entre siempre y jamás (Between Always and Never). 54th Venice Biennial - International Art Exhibition), Venice, Italy.
Cuban Visions Metropolitan Pavilion, New York, U.S.A.
Coca-colonized. Marte Museum, San Salvador, El Salvador.
Ya sé leer, imagen y texto en el Arte Latinoamericano (I Can Read Already. Image and Text in Latin American Art). Wifredo Lam Contemporary Art Center, Havana, Cuba.
Art Miami Fai”, Miami Fl, Estados Unidos
2010 4 Gatos (Four Cats) Fanguito Studio, Havana, Cuba.
Touched. Liverpool Biennial, cured by Lorenzo Fusi, Liverpool, UK.
Coca-colonized. Cured by Claire Breukel, Brot Kunsthalle, Vienna, Austria.
Serendipit. Arte 10 Biennial, Portugal.
El aguacero, la siesta, el cañaveral, el tabaco (The Downpour, the Nap, the Sugarcane Plantation, the Tobacco). Cured by Santiago Olmo, 31st Pontevedra Biennial, sixth building, Pontevedra Museum, Spain.
I Shot the Sheriff (Heroes and Villains) cured by Carlos Garaicoa.  Open Studio 4.0, Madrid, Spain.
Pieza única (Unique Piece), Government of the Principality of Asturias. Madrid, Spain.
2009  Confluences Inside. Contemporary Cuban Art II, National Hispanic Center Art Museum. Albuquerque, U.S.A.
Jamás ser (Never Being), cured by Lillebit Fadraga, Fanguito Studio, Havana, Cuba.
Estado de excepción (State of Exception) cured by Tania Bruguera and Mailyn Machado, collateral to the 10th Havana Biennial, Cuba.
5th Salon of Contemporary Art, Development Center for the Visual Arts, Havana, Cuba.
2008  El cuerpo es cuerpos. Fotografía y video cubanos (The Body is Bodies. Cuban Photography and Video), Jesús Gallardo Gallery, Guanajuato, Mexico.
Lanza Cuba (Cuba at Bat), cured by Ernesto Neto and Carlos Garaicoa, A gentil carioca, Rio de Janeiro, Brazil.
Open Studio 2.0, Carlos Garaicoa’s Studio, Madrid, Spain.
2007 Masa crítica (Critical Mass), cured by Sandra Sosa, Development Center for the Visual Arts, Havana, Cuba.
Utopia. Servando Gallery, 23rd and 10th Streets, Vedado, Havana, Cuba.
El héroe (he Hero, Remake in Cuba), Salle Zéro, Alliance Française of Cuba.
Maniobra (Maneuver), Higher Institute of Art, Havana, Cuba.
Ni a favor ni en contra, todo lo contrario (Neither in Favor nor Against, Completely the Opposite), cured by Mailyn Machado, Faculty of Arts and Literature, Havana, Cuba.

National Museum of Fine Arts, Havana, Cuba. Susana de la Puente, Lima, Peru. Jorge Rais (Odeón Foundation), Bogotá, Colombia.
Private collections in U.S.A., Spain, Germany, France, Italy.


The works by this artist propose a very personal way of regarding history. They are signaled by the post-modern trend of appreciating events from a subjective point of view. He makes objects, videos and photos.

His initial works reflect his interest for the research of important events such as the Cuban wars of independence in the 19th century: the Ten Years’ War and the War of 1995. Through the recovery of information and reproduction of objects belonging to personalities of Cuban history, he grants a new meaning to the concept of hero.

Pieces like his Colección de libros de la Flor Nacional de Cuba (Collection of Books on the Cuban National Flower), Los olores de la guerra (The Smells of War), El orden de la batalla (The Battle’s Order) and El patriota invisible (The Invisible Patriot) denote his preference for team work, where military strategists, botanists, cartographers, musicians and historians participate.

A further moment in his short creative experience is when he links the theme of the revolutionary period with leaders of the Cuban revolution, as in the series Páginas escogidas (Selected Pages), produced from headings and news published in the country’s official organ, and the frequent use of book-objects, as in the case of Revolución una y mil veces (Revolution one and a thousand times), where he links the word Revolution with the meaning of the red color.

The titles of his pieces are part of that analogy he creates with history and is also another way of telling it so that it may be assumed from a different standpoint

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