Exhibition by Karlos Pérez. Orígenes galery, Gran Teatro de La Habana, Prado and San José. Havana Center. March - May 2017
The photographic image has played an important role in the conformation, transmission and conservation of social imaginaries. It is for this reason that not a few experts in the subject absolutize that: photography, cinema and television are the visual memory of the nineteenth and twentieth centuries.
Photography as a source has become established in the field of research and historiography, not only as an illustrative and aesthetic resource, but on the contrary, as a complex phenomenon where dissimilar values converge: the documentary among them.
Although documentary photography can respond to several and broad definitions, the most extended concept and to which our unconscious is accustomed, is the one that says that documentary photography is born with the intention of capturing reality in a fixed image, but always looking for an aesthetic result.
Taking as a pretext the infantile image, and although recurrent already in the speech of Karlos Perez, the portrait is redefined in Before Memories, from an order of construction of the non-traditional plastic-visual speech.
Once again, the recovery of an Imaginarium anchored in the bourgeois tradition of capitalist society, which preceded 1959, constitutes the thematic thread of this exhibition, where the procedures of intervention and manipulation of painting reveal an unconventional visual result within this manifestation.
The images of infants, recovered by Karlos, belonging to the high bourgeoisie of pre-revolutionary capitalist society, safeguard certain customs and traditions, and take us into a world where the power of art acquires an existential character.
However, the non-systematic nature of these customs and traditions, for more than forty years, did not mean their total uprooting. To capture in still images the events of value for the Cuban family -from a photographic studio, with specialized personnel-, has been gaining ground for some years.
The 90's managed and renewed the way of conceptualizing, producing and advertising art. This phenomenon, which from my point of view, has generated a constant consumption of this type of service, provoking the specialization not only of the personnel, but of the equipment and the technique, all this appreciable in the visual result of what is produced from the island, in this matter.
That is why Before Memories, from the sobriety of the image presented, where traditional supports converge - canvas- and anti supports -resin, objects-, investigates from the deep, in the problems of our Cuba of today.
by: Miriam P. Casanellas
KARLOS PÉREZ NÁPOLES
2014 Superior Institute of Arts (ISA), Havana, Cuba
2008 Camagüey's Professional Arts Academy, Camagüey, Cuba
2016, Memories, Izolo 17 Gallery. Verona, Italy 2016 After Memories, Lloyds Register, Havana, Cuba 2016 LAGC,
Boston/ Provincetown, United States 2016 Film MISCONDUCT, Hollywood, United States 2016 Latin Art Core Gallery, Miami, United States 2016 Blind Memories. Servando Gallery, Havana, Cuba 2015 Memorias Impersonales (Impersonal Memories), La Acacia Gallery 12th Havana’s Bienal, Habana, Cuba 2014 Archivo de Familia (Family Files), Servando Gallery, Havana, Cuba Zona MACO México Contemporáneo (MACO Zone Contemporary Mexico). International Fair, DF, México 2013 Puertas Abiertas (Open Doors), Servando Gallery, Havana, Cuba 2012 Open Space, Collateral Show, 11th Havana's Biennial, Prado 101, Cuba 2010 Fuera de Servicio (Out of Service), Video Intervention at the Mall Carlos III Square, Havana, Cuba 2008 Mute, Jorge Santos Gallery Professional Art's Academy Vicentina de La Torre, Camagüey, Cuba.
Karlos Perez's work can be found in private and public collections all around the world, in countries such as Germany, Belgium, Canada, United States, Spain,
England, France, Italy Mexico, Switzerland, Sweden, United Arab Emirates, Singapore, India, Japan and China.