Making use of the symbolism of the grandstands often employed in Cuba for political or festive commemorations, the artist broadens this concept to turn these empty bleachers into monuments to stoicism, to desolation, and to silence.
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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In his March without Perspective, René Francisco reveals the bare scaffolding and the ideal and protective enclosure that accompanies the creation of a work of art. He has conceived nothing but the skeleton so that the viewer can feel a part of it. In an indirect way he makes the viewer seek their own place by wandering inside the work, becoming part of this new environment, as if seeking to rescue a lost utopia.
Making use of the symbolism of the grandstands often employed in Cuba for political or festive commemorations, artist-engineer René Francisco broadens this concept to turn these empty bleachers into monuments to stoicism, to desolation, and to silence.
This work seeks new vital signs and questions current historical circumstances and the duality of today's sociopolitical outlooks. Symbolic and disquieting, bombastic and evocative of absent crowds, March without Perspective is an artifice which effectively conveys that feeling of tension and ambiguity between what exists and what one thinks, placing out in the open the emptiness, confusion, and fear we feel when faced with silence or the absence of life. - Magda Ileana González-Mora, Curator
Exhibition
René Francisco was born in Holguín, Cuba in 1960. He studied at Havana’s Escuela Nacional de Arte and Instituto Superior de Arte in the 1980s. He has exhibited in both solo and group shows in the United States, Central and South America, and Europe, and in biennials such as the 26th Bienal de São Paulo in 2004, the Venice Biennale in 1999 and 2007, the 2nd Thessaloniki Biennial (2009) and two editions of the Havanna Biennial (1997 and 2000).
Francisco is also the recipient of the Premio UNESCO during the 2000 Bienal de la Habana and the recipient of an honorary doctorate of Fine Art from the San Francisco Art Institute in 2001.
