This play is a reflection on the (im)possibility of accepting diversity and the other. The fragmented body of the neoplasm—the fruit of unstable conditions—overcomes barriers, loves and denies itself and others, wanders around, forgetting its profession. It frequently and with pleasure divides, goes through dangerous palpation, questions the possibility of contact with the experience of the other. Poorly brought up but very successful, it invites us to a trans-species transition.
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Yoán Capote has echoed collective Impotence and produced a sound sculpture made up of recordings of his own voice pronouncing monosyllabic words that express feelings of refusal or acceptance. A resounding "NO," powerful and embracing, takes control of the hall, while a hushed "si" tries to hang on and resist being subdued. Since childhood, we have all been exposed to diverse commandments, at home, in school, in society where we are obliged to follow the rules. In adulthood similarly, we face a visual and verbal bombardment of signs of prohibition, from the simple and ordinary to the most serious. Impotence is a work that argues for understanding and tolerance. It denies all impositions and, in its own unique voice, cries out a refusal to conform. With his sound sculpture, Yoán Capote demonstrates his independence and his opposition to fear and negation, as he creates a space for human understanding. His hushed "si" is imposing, like a ghost in the dark. It is the passive-effective "si" that readjusts its existence and invents another place where it can express its own will and desire. - Magda Ileana González-Mora, Curator
When
New Installations: Artists in Residence Cuba, October 3, 2004 - April 24, 2005
Where
1414 Monterey, 1st Floor
Yoán Capote was born in Havana, Cuba in 1977, where he lives and works. He attended the Provincial School of Art in Pinar del Rio, Cuba from 1988-1991; the National School of Art in Havana, Cuba from 1991-1995; and the Higher Institute of Art in Havana, Cuba from 1996-2001. Jack Shaiman Gallery has represented Capote since 2010. The unique experience of being Cuban influences his work, which often deals with themes of migration or government that reference Cuban identity yet are universally accessible.
Capote has exhibited extensively, including in Portugal, Spain, Switzerland, France, England, Panama, Cuba, and the United States. He uses sculpture, painting, installation, photography, and video to create analogies between the visual poetry of inanimate objects and the intangible world of the mind. He merges incongruous items, such as human organs and mundane objects to plumb ideas of humanity. His work deals with the intimate and the personal while investigating constructions that are based in power and difference.
