Agustín Cárdenas, The Excellence Engraved in a Name
Agustín Cárdenas, who was born in Matanzas, kept Cuban roots and spirit, those that he didn’t give up, in a universal art work
Two years ago, the Cuban gallery circuit showed one of the most significant exhibitions in recent times, not only because of the leading role demonstration: the sculpture, poorly represented in the spaces for exhibition in Havana; but also because of the excellence of the pieces chosen. The Ways of Silence, that is exhibited at the Wifredo Lam Center, brought together more than 20 volumes of the prominent creator Agustín Cárdenas (April 1927 / February 2001), the winner of the National Arts Award 1995.
Agustín Cárdenas, this virtuoso of the relief, swells the most important production in the Twentieth century with a profuse sculptural work carried out between Cuba and France.
San Alejandro Academy was the starting point for his fantasy of sinuous shapes and stylized bodies, an act that went beyond the dream framework and the representation on paper, resulting in works of monumental beauty and exquisite modeling.
The abstract language defined the work by Agustín Cárdenas, who joined the group Los Once, a group of painters having a non-figurative orientation, where he was until he received a scholarship to study in Europe in 1955. The old continent, especially France, where he lived for many years, was a witness of the exceptionality of his work. The Cuban sculptor, considered among the exponents of surrealism and the School of Paris, enjoyed a great privilege when he was introduced to the audience in his first single exhibition by Master André Breton.
The author of The Kiss (1974) and Homage to Brancusi (1966) was influenced by abstract sculptors like Henry Moore, Jean Arp and Brancusi, (the title of the second piece confirms this.) His work, of a high symbolism, didn’t discriminate techniques or materials, and he corresponded to all with the same aesthetic rigor. However, the sculptural practice by Agustín Cárdenas had different stages. The first, having a remarkable development of wood and stone. Maternity (1954,) a volume that completes the collection of the National Fine Arts Museum, and can be seen in the halls of this center, is an example of its stone carvings. The second period was linked to the use of marble, granite and basalt. In addition, it meant a greater degree of abstraction in the works. The third period would be his bronze age powered by the recurrence of that material.
The creator, from Matanzas, kept Cuban roots and spirit, those that he didn’t give up, in all his universal art work. His final return to Cuba took place in 1993, and he was the winner of the Second National Art Prize, together with Rita Longa, in Cuba, at present. The stamp of Cardenas will be confirmed by the production of current and future generations of artists.
Translated by ESTI