Susana Pilar Delahante Matienzo
February 2017 - March 2017
Susana Pilar Delahante Matienzo
Havana, Cuba, 1984.
2013 Estudios de Postgrado en Nuevos Medios| Postgraduate studies in New Media,
Karlsruhe University of Arts and Design (HfG), beca del DAAD (DAAD Scholarship), Alemania (Germany).
2008 Licenciatura en Artes Plásticas, Instituto Superior de Arte (ISA), La Habana, Cuba.
2003 Graduada de la Academia de Bellas Artes “San Alejandro”, La Habana, Cuba.
Solo exhibitions (Selection)
2016 Reclaiming meaning, Skövde Art Museum, Suecia (Sweden).
2015 Tropiques héritage, Galerie André Arsenec, Fort de France, Martinica (Martinique).
2014 Dominadora inmaterial, Zalle Zèro, Alianza Francesa de La Habana, Cuba.
2011 Fiebre cerebral, galería Villa de Bank, Enschede, Holanda (The Netherlands).
Group exhibitions (Selection)
2017 South-South: Let me begin again, Goodman Gallery, Kapstadt, Sudáfrica (South Africa).
2016 Nido sin Árbol, UNAICC, La Habana (Havana), Cuba.
Touch the reality, Kunstraum Niederoesterreich, Viena, Austria.
Cuba: Tatuare la storia, PAC/ZAC: Padiglione Arte Contemporanea/ Zisa Zona Arte Contemporanee, Milán/ Palermo, Italia (Italy).
New talents Biennale, Colonia (Cologne), Alemania (Germany).
Intersecciones: Havana/Portland, galería Hoffman, Portland, EE.UU.
2015 Anclados en el territorio, Galleria CONTINUA, Águila de Oro, La Habana (Havana), Cuba.
Entre, Dentro, Fuera, 12 Bienal de la Habana, Cuba.
El artista entre la individualidad y el contexto, 56 edición de la Bienal de Venecia, Pabellón de Cuba, Italia.
2014 Cuban virtualities II, Instituto de Arte de Chicago, EE.UU.
Variaciones contempladas en silencio, Museo de Arte Cubano, La Habana, Cuba.
2013 Bienal de Arte Contemporáneo| BIAC, Martinica (Martinique).
Biografía Dilatada, School of the Museum of Fine Arts, Boston, EE.UU.
2012 Prome encuentro Bienal Arte Contemporaneo di Caribe, Aruba.
11 Bienal de la Habana, Cuba.
2011 Bienal de la Isla de la Reunión, Le Port, Isla de la Reunión (Reunion island).
2009 All that is solid melts into air (Exposicion extra muros), Museo de Arte Contemporáneo de Amberes M HKA, Mechelen, Bélgica (Belgium).
2008 Medium Religion, ZKM, Karlsruhe, Alemania (Germany).
7ma Bienal de Gwangju, Corea del Sur (South Korea).
Grants, residencies, scholarships (Selection)
2017 Artista en Residencia, Academia de Bellas Artes de Viena (Artist in Residence, Academy of Fine Arts Vienna), Austria.
2016 El Reino de este mundo, Asociación Hermanos Saíz| AHS, La Habana, Cuba.
Air Skövde, Skövde, Suecia (Sweden).
Apexart fellowship, Nueva York (New York), EE.UU.
2014 Premio Maretti, La Habana (Havana), Cuba.
Kultur Kontakt AIR, Viena, Austria.
2011-2013 Beca del DAAD, Alemania (Germany).
2011 Residencia de artes plásticas organizada por la Ecole Supérieure d’Art de la Reunión y la Bienal de Artes Actuales, Isla de la Reunión (Reunion island).
2010-2011 MAP Residency in ArtEZ-AKI, Pépinières européennes pour jeunes artistes artistes y TransArtists, Enschede, Holanda (The Netherlands).
2009 Darling Foundry Residency, Montreal, Canadá.
In the History of Humanity, social pressure has been one of the surreptitious reasons that had strongly modified the opinion, behaviour and participation of the individual in society. Its existence derives from the mechanisms of control exercised by power, especially when bases its methods on the so-called "panoptic", a concept envisioned by Jeremias Bentham at the end of the eighteenth century, whose principle - applied in penitentiary rooms- consisted of a tower situated on a circular peripheral building that gives a total view and control of the people.
Two centuries later, Michael Foucault extracted a sociological analysis from his lines, which went beyond the idea of the criminal surveillance system on the eighteenth-century; to then address the concept of power in any moment. Hence, this more generalized system of control would lead to the increase of social pressure, to convert a "non-power" to "not want", and to contain the so-called "dark zones" as a result of omission, oppression and discrimination.
Nobody escapes the panoptic, neither the observed nor those who observe... Some people will be alert to others’ mistakes and vice versa. If violence is applied, there is a risk of insurrections; if the intervention happens to be discontinuous, eventual resistance zones start to be created. Under such coercion, the so-called "minorities" that have search for recognition, visibility and acceptance, had also been victims of repression, intolerance and overlapping.
The relations of power have been subverted from the contemporary art practices, either from the representation or the action. The work of the young artist Susana Pilar and her specific project uses the experience as a factor of expansion from life to art. Her searches, performances and documented actions find authenticity in her co-implication, I mean, on her direct provocation to the audience followed by the effect of these confrontations. Susana is not necessarily a squatter, someone who is contented to occupy spaces; her act of presence is often accompanied by a claim. On three art pieces exhibited on the show: Islas, Confrontación and Aplausos, Delahante simulates the panoptic by using continuous "transparent" windows that show her re-actions to the limits; tends to leave those "dark zones" and tries to surround, confront and challenge the viewers, as well as question their status of vigilant and watched. Susana Pilar seeks the warmongering (beyond the guns) in each body that opposes to another trying to destroy it. For that reason she uses herself in order to intensify a social operation or procedure; as well as assisting to a polemic encounter with non-told stories, such as the non-representation of black females.
Bala Perdida (Lost Bullet) talks about the actions / performances made by the artist, the reactions of the audience, the reproduction and the play with documented actions, thought as a new action awaiting its recipient, and the physical law that remembers: all action brings a reaction.
Claudia Taboada Churchman