Search Keyword: Total 11 results found.


Arnoud SchuurmanTranslucid View

Chus García FrailePost it

Virginia Corda + Maria Paula DobertiAccidentes urbanos

Gustav HellbergPulsing Path: una visión ambigua

Lorma MartiBlend Out    Stefano de Martino+ Karen Lohrmann

Nicole Cousino + Chris VecchioSpeakhere!

Tanadori Yamaguchi + Maki Portilla-Kawamura + Key Portilla-Kawamura + Ali Ganjavian    Locutorio Colón

Tao G. Vrhovec    Reality Soundtrack

Tere Recarens    Remolino    Wilfredo Prieto    Ouroboros







2006. DISCUSSION PANELS / 2 feb (video)

 Thursday, February 2nd 6pm to 9pmPRESENTATION OF THE MADRID ABIERTO 06 PROJECTS

Place: La Casa Encendida (Ronda de Valencia nº2)Selection carried out by Eva González-Sancho, director of FRAC Bourgogne.Moderates: Ramon Parramon

1Ramon Paramon (presentation)00:00 – 03:00

Virginia Corda y Maria Paula Doberti. Accidentes Urbanos.03:00 – 19:00

Nicole Cousino en colaboración con Chris Vecchio. Speakhere¡ 19:00 – 29:50

Gustav Hellberg. Pulsing Path-ambiguous vision. 29:50 – 43:08

Colectivo Lorma Marti. Blend out. 43:08 – 53:30

Tere Recarens. Remolino. 53:30 – 56:06

Arnoud Schuurman. Translucid View56:06 – 1:01:02



2Arnoud Schuurman. Translucid View00.0    – 01:30



3Tao G.Vrhovec. Reality Soundtrack. 00:15 – 09:00

Maki Portilla-Kawamura, Key Portilla-Kawamura, Tadanori Yamaguchi y Ali Ganjavian. Locutorio Colón.09:00 – 26:36

Wilfredo Prieto. Ouroboros. 26: 36 – 29:28


Ramon Paramon (presentation of the interventions by Jorge Díez, El Perro and Javier Avila)32:35 - 34:48

Jorge Díez: Director of Madrid Abierto. From 2004 to 2005 he was General Secretary of Cultural Management and Promotion of Castilla-La Mancha (Secretario General de Dirección y Promoción Cultural de Castilla-La Mancha).34:48 – 47:44

El Perro: Group of visual artists (Pablo España, Iván López y Ramón Mateos). From 1997 to 2002 they organised the public art exhibition, Capital Confort in Alcorcon. Took part in the organisation of MAD 03 - Arte público. 47:44 – 1:01:03


4El Perro: Group of visual artists (Pablo España, Iván López y Ramón Mateos). From 1997 to 2002 they organised the public art exhibition, Capital Confort in Alcorcon. Took part in the organisation of MAD 03 - Arte público. 00:00 - 01:39


5El Perro: Group of visual artists (Pablo España, Iván López y Ramón Mateos). From 1997 to 2002 they organised the public art exhibition, Capital Confort in Alcorcon. Took part in the organisation of MAD 03 - Arte público. 00:00 – 13:30

Javier Avila: Art critic and exhibition organiser. He has promoted and managed numerous editions of the Periferias project in the city of Gijón.d de Gijón.13:30 – 28:00

Round table28:00 – 48:36








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2006. Wilfredo Prieto. OUROBOROS (technical data)

 To carry out the project we need a mobile crane, the lorry-crane type, with stabilizers on each side with an average power of XXX. Likewise, we need appropriate staff to use it, and qualified staff to calculate the forces before its assembly.






2006. Wilfredo Prieto. OUROBOROS (theoretical data)


It’s about building a crane that is attached to itself so that its forces are neutralized and it seems completely static.


A learning process is established to exactly define what type of material is necessary to do the project with the aid of specialized technicians. During that time the necessary material will be chosen and a plan of action will be designed so the piece can be made without harming anyone.

Just as important as the final result will be the whole elaboration process, that is, necessary permits, material adaptation, engineering calculations, etc. Logistic problems that may arouse are as important as the final work.


My piece intends to dwell on the same principal, to say a lot with very little, a formula that may be reversed to project a complex construction to achieve a meagre result. Using minimalism as a reference, the search of balance between forces is my goal for this event. The paradox that is created when the fish bites its own tongue, the yin and yang contradiction, the universal complement of good and bad, life and death, the vicious cycle.

Before the static machine, one can only be amazed by the visual brutality of its result. Anyhow, I want to explore the role of art in territories of coexistence, therefore as Cuban, I deal with everyday life without forgetting that life itself is a paradox that encourages us to live, to die and, sometimes, to create art.






2006. Wilfredo Prieto. OUROBOROS (published text)

 Cayendo hacia arriba

From objects, reality; from ideas of repositioning the object and the meanings generated by the space which subverts. Moreover, the gesture of re-contextualising doesn’t appear in the object – new context dialogue, but converts the functionalism and the logical utility into something banal which suggests a chaotic image, and even a lucid one of the structure, a victim of its own functional framework and a reflection on its incapacity to be something autonomous.

Ouroboros, in reference to the mythical image of the snake biting its tail, makes one think about power, the social structure of relationships, whether it be at institutional or personal levels, and the lack of sense shown in the application of these precepts in their own systems. Appealing to the wealth of the monument and visual impact as strategies for integrating the object, now called Ouroboros, and which requires a critical overview of the reverted processes, one is attempting to imply the form and to strengthen multiple meanings from the apparent ingenuity of choice and manipulation of the piece.

The effect of the object is neutralized with extreme subtlety by suggesting a means and aim in itself. The minimum self-intervention demystifies the artist as an object creator and profiles him or her as an archaeologist of present times, the daily events, of realities which blend in to the environment around them and thus easily escape other people’s eyes.

With doubt, the piece ponders a more explicit questioning of power and its most visible actions; this pays tribute to the weight and size of the piece, where formality introduces associations with power and its social crystallization. Nevertheless, the Ouroboros concept leans towards an understanding which privileges the understanding of power as a moral method, a self-consciousness and practical experience. It acts as an underlying state. It is actually close to the very dynamic of the art institution, despite the surreptitious of equally suggestive mechanisms. Not even the artist, nor the piece of art itself, with this aura of cognition can allude or remain distant from the conceptual fundamentals they activate.

Direlia Lazo January 2006





2006. Wilfredo Prieto. OUROBOROS (2005.12 / theoretical data)

 This project questions power, as an institution of order and control, from its own scaffolding. Conditioned on appearance, on overlapping camouflage, on correspondence between objects and reality, as an artistically “minimal” operation to detonate and underline its conceptual strategy.

Ouroboros, as the mythical image of a snake biting its tail, recontextualized to challenge today’s social structure from the philosophical order; thereby causing an estrangement, to season interaction from its own symbolic charge; seeking to compact interpretative possibilities, concealing itself in a visual impact, starting from the formal scale itself, and its everyday condition.

(December 2005)







2006. Wilfredo Prieto (Cv)


EDUCATION2004·    Postgraduate course in performance coordinated between San Francisco Art Institute and Instituto Superior de Arte, Cuba.·    Lecturer at Instituto Superior de Arte, Havana

2002·    Instituto Superior de Arte, Havana

1996·    Escuela Profesional de Artes Plásticas, Trinidad

1992·    Escuela Vocacional de Artes, Santa Clara

SOLO EXHIBITIONS2005·    S.t, Galería Nogueras Blanchard, Barcelona

2004·    Speech, Martín Van Zomerem Gallery, Amsterdam

2003·    Mucho ruido y pocas nueces, Galería Habana, Havana

2002·    Wilfredo Prieto en el Wifredo Lam, Centro de Arte Contemporáneo Wifredo Lam, Havana

2001·    Matriuska, Centro de Desarrollo de las Artes Visuales (CDAV), Havana

2000·    Pie de obra, Co-author James Bonachea, Centro Cultural ICAIC, Fundación Ludwig de  Cuba, Havana

1999·    Conceptualismo aditivo, Co-author James Bonachea, Galería Oscar Fernández Morera, Sancti-Spíritus

GROUP EXHIBITIONS2005·    The hours, Irish Museum of Modern Art, Dublin · FIAC, Paris

2004·    Cordial invitation, Bak and Central Museum, Utrecht·    Island nations, The RISD Museum of Art, Rhode Island·    Just on time, Galería Habana, Havana·    Arco International Art Fair, Madrid

2003·    8th Havana Biennial, Havana·    Stretch, The Power Plant Contemporary Art Gallery, Toronto·    Doble seducción, INJUVE, Madrid·    Sentido común,  Galería Habana, Havana

2002·    El prestamista y el deudor, (music ensemble), Instituto Superior de Arte, Havana·    Identidad, Convento de Santa Clara; Fundación Nicolás Guillén, Havana·    3rd International Banner Biennial, Centro Cultural Tijuana, Tijuana·    Exhibition parallel to the 26th Sao Paulo Biennial, Memorial América Latina, Sao Paulo

2001·    3rd National Contemporary Cuban Art Show, Centro de Desarrollo de las Artes Visuales (CDAV), Havana·    Museu de Arte Contemporânea de Goiás, DUPP, Brazil·    Comtemporary Cuban Art, The Mary Brogan Museum of Art and Science, DUPP, Florida·    ElbArt NN fair, Hamburg

2000·    7th Havana Biennial, DUPP, Havana·    Watamula International Artists’ Workshop, Curaçao·    Con un pensar abstraído, DUPP, Galería Habana, Havana

1999·    2nd Ana Mendieta Performance Festival, Pabellón Cuba, Havana·    El tiempo como espacio, Instituto Superior de Arte, Havana·    Con un mirar abstraído, (intervention), Calle la Rampa, DUPP, Havana·    La Época, (intervention), Época shopping centre, DUPP, Havana

1998·    1st Ana Mendieta Performance Festival, Unión Nacional de Escritores y Artistas de Cuba, DUPP, Havana·    1st National Contemporary Art Theory and Criticism Biennial, Galería Oscar Fernández Morera, Sancti-Spíritus

GRANTS AND AWARDS2005·    Artistic Residence, Kadist Foundation, Paris

2002·    Galería DUPP (Desde Una Pragmática Pedagógica – From A Pragmatic Pedagogy), Instituto Superior de Arte, Havana

2000·    The UNESCO prize for the promotion of the arts, 7th Havana Biennial, DUPP, Havana

1997·    Nubes Verdes Scholarship-Prize, Asociación Hermanos Saíz, Sancti-Spíritus

ARTICLES·    Peran, M. Wilfredo Prieto. Revista Exit Express, no. 9, February 2005·    Molina, Á. Biblioteques i camins que es bifurquen, El País, 20 January 2005·    Rattemayer, C. VIII Bienal de La Habana. Artforum, vol. XLII, no. 6, February 2004·    Salgado, G. 8th Havana Biennial: The Bittersweet Taste of Utopia, FlashArt, January-February 2004·    Noceda, J. M. Un texto infinito, AtlAntica, no. 37, 2004·    Herzberg, J. ArtNexus, no. 52, 2004·    Benítez Dueñas, I. Extracto de ARCO 2004, ArtNexus, no. 53·    Marx, G. Havana, Chicago, Tribune, 20 November 2003·    Gopnik, B. Havana, an Air of Possibility, Washington Post, 16 November 2003·    Mosquera, G. Del arte latinoamericano al arte desde América Latina, ArtNexus no. 48, April 2003

BIBLIOGRAPHY·    Tannenbaum, J. and Morales, R. Islas Naciones: Arte Nuevo de Cuba. La República Dominicana, Puerto Rico y la diáspora, Rhode Island School of Design Museum, Providence, Rhode Island, 2004·    Hlavajova, M. and Mosquera, G. Cordially Invited, BAK, basis voor actuele kunst, 2004·    Pera, R. Doble Seducción, INJUVE, Madrid, 2003.    Mosquera, G. and Francisco, R. Wilfredo Prieto, Centro Cultural Español, Havana, 2002






2006. Wilfredo Prieto. OUROBOROS (visual data)

2006. Wilfredo Prieto. OUROBOROS (visual data)









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2006. Wilfredo Prieto. OUROBOROS (images)

2006. Wilfredo Prieto. OUROBOROS (images)