Hosting an exhibition by the renowned Spanish sculptor Carlos Albert marked a significant milestone for the Museum of Contemporary Art of the Americas (MoCA‑Americas) and for the vibrant community it served. The inclusion of his work in the curatorial program reaffirmed the museum’s commitment to excellence in contemporary art and to fostering international artistic voices whose trajectories and visions enriched the cultural dialogue within the local context.
Carlos Albert had established himself as a pivotal figure in contemporary Spanish sculpture. His practice—deeply rooted in the tradition of wrought iron—melded technical mastery with a poetic visual language of striking expressive power. In his work, matter was transfigured into gesture, balance, and latent energy, revealing a sensibility that transcended borders and resonated with diverse audiences. For MoCAA, presenting this body of work to the South Florida public was both an act of cultural exchange and an invitation to engage with an aesthetic of profound formal and conceptual rigor.
Although the artist could not be present in person on that occasion, due to prior engagements in Costa Rica, his presence was powerfully felt in every piece on view. This exhibition was not only an opportunity to encounter—or rediscover—the force of his sculptural language, but also a celebration of artistic connection across geographies and of the enduring power of art to inspire and transform, regardless of distance.
Returning to the presentation of the book, the volume was first unveiled on April 26, 2023, in a landmark event held at the Sabatini Auditorium of the Museo Nacional Centro de Arte Reina Sofía in Madrid. The launch was introduced by Leonardo Rodríguez, President and Founder of MoCA‑Americas, and was graced by the presence of the artist himself.
Carlos Albert was a long‑standing figure within the circle of MoCA‑Americas, an institution that had closely followed his artistic evolution and had been actively engaged in the dissemination of his work. In line with this commitment, the Rodríguez Collection was one of the principal sponsors of the publication Carlos Albert. Road to the Unknown, authored by the renowned Spanish art theorist and critic Alfonso de la Torre.
The book was officially presented on April 26, 2023, in a landmark event at the Sabatini Auditorium of the Museo Nacional Centro de Arte Reina Sofía in Madrid. The occasion featured remarks by Leonardo Rodríguez, President and Founder of MoCA‑Americas, whose collection included a significant body of modern and contemporary art from across the Americas, with a particular emphasis on Cuban art. Also in attendance were the artist himself, as well as Cécile de Froidmont (Aquilaluna Art Gallery) and Nivaldo Carbonell (NG Art Gallery), co‑sponsors of the editorial initiative.
This publication also marked the inaugural project of MoCA‑A Editions, the museum’s editorial arm, envisioned years prior with the purpose of producing scholarly monographs on key artists in its collection and exploring subjects of artistic and community relevance. While the onset of the COVID‑19 pandemic and the war in Ukraine had delayed its implementation, this volume represented the revival of that mission, reaching a second milestone with the launch of the book in the Americas. On November 24, 2023, MoCA‑Americas in Kendall hosted the official presentation of Carlos Albert. Towards the Unknown, in the presence of a broad audience of art professionals and enthusiasts, thereby strengthening the cultural bridge between Europe and the Americas and reaffirming the museum’s dedication to the global projection of contemporary art.
Carlos Albert’s Collages
While Carlos Albert was widely celebrated for his sculptural work, a particularly compelling dimension of his artistic practice lay in his two‑dimensional creations: his collages on paper. Initially conceived as tools for visualizing and experimenting with forms intended for sculptural realization, these collages evolved into autonomous works imbued with meaning.
As curator Juan Delgado Calzadilla observed, Albert’s collages were visual elegies to the powerful volumes of his sculptures. Originally composed of cutouts and materials used during the preparatory phases of his monumental works, these pieces acquired a distinct personality. Their creation involved a constant dialogue between spontaneity and deliberate precision, evident in stains, burn marks, automatic strokes, and the incorporation of refined materials such as Chinese ink, tarlatan, or matte tree bark paper.
The result was a singular body of “visual calligraphies,” defined by a sophisticated balance between a fascination with contrast and a delight in spontaneous, minimalist variations. No longer mere preludes to his sculptures, these compositions became mysterious universes in their own right, affirming Albert’s work on paper as an essential and distinctive realm within his broader artistic production.
Biography
Carlos Albert Andrés was born on February 24, 1978, in Madrid, Spain. Widely recognized for his distinguished career as a sculptor, Albert was a member of the esteemed Grupo 99, a collective whose manifesto championed traditional values in art. His work was defined by a masterful command of wrought iron and weathering steel—materials he manipulated with striking ease to create compositions that merged mass and void, evoking movement and dynamic tension.
In 1996, Albert enrolled at the Faculty of Fine Arts of the Complutense University of Madrid and later expanded his studies at Camberwell College of Arts (University of the Arts London). From the outset of his academic training, he demonstrated a marked affinity for drawing and compositional structure—an inclination that permeated his entire body of work. A pivotal moment in his development came in 1999 with his encounter with renowned sculptor Martín Chirino, under whose guidance Albert refined advanced forging and sculptural design techniques, thanks to a scholarship from the Marcelino Botín Foundation.
Albert’s career was punctuated by numerous accolades, including the First Prize in Visual Arts from the Complutense University (2001) and the First Prize in Sculpture from the University of Seville that same year. His trajectory in monumental sculpture began with major public commissions, most notably the landmark work Puerta de la Tolerancia, installed in the city of Parla, Madrid. Over time, his large‑scale sculptures became integral to the urban fabric of various cities across Spain.
His work was exhibited both nationally and internationally, with appearances at prestigious art fairs such as Art Karlsruhe in Germany and exhibitions at 100KUBIK Gallery in Cologne. Albert also showcased his work through digital platforms such as Plastiké Art Gallery, solidifying his position as a significant figure in contemporary Spanish art.
Works Presented
Carlos Albert presented a total of twelve works on that occasion—two sculptures and ten collages—detailed below:
Velo (2023) – Stainless Steel – 10¼ × 14½ × 8 in
Between Keys (2023) – Painted Paper Collage – 22½ × 30 in
Deep Blue (2023) – Painted Paper Collage – 29¾ × 23½ in
Sea Tetris (2023) – Painted Paper Collage – 30 × 22½ in
Nocturnal Frame (2023) – Painted Paper Collage – 30 × 22½ in
Nocturnal Art Deco (2023) – Painted Paper Collage – 30 × 22½ in
Wet Land (2023) – Painted Paper Collage – 29½ × 41½ in
Diving Jellyfish (2023) – Painted Paper Collage – 20¾ × 14½ in
On the Bottom (2023) – Painted Paper Collage – 20¾ × 14½ in
House under Bayan (2023) – Painted Paper Collage – 20¾ × 14½ in
Blue Palm (2023) – Painted Paper Collage – 20¾ × 14½ in
Silence inside you (2023) – Sculpture (Corten Steel)
Carlos Albert’s Collages
While Carlos Albert was widely celebrated for his sculptural work, a particularly compelling dimension of his artistic practice lay in his two‑dimensional creations: his collages on paper. Initially conceived as tools for visualizing and experimenting with forms intended for sculptural realization, these collages evolved into autonomous works imbued with meaning.
As curator Juan Delgado Calzadilla observed, Albert’s collages were visual elegies to the powerful volumes of his sculptures. Originally composed of cutouts and materials used during the preparatory phases of his monumental works, these pieces acquired a distinct personality. Their creation involved a constant dialogue between spontaneity and deliberate precision, evident in stains, burn marks, automatic strokes, and the incorporation of refined materials such as Chinese ink, tarlatan, or matte tree bark paper.
The result was a singular body of “visual calligraphies,” defined by a sophisticated balance between a fascination with contrast and a delight in spontaneous, minimalist variations. No longer mere preludes to his sculptures, these compositions became mysterious universes in their own right, affirming Albert’s work on paper as an essential and distinctive realm within his broader artistic production.
Biography
Carlos Albert Andrés was born on February 24, 1978, in Madrid, Spain. Widely recognized for his distinguished career as a sculptor, Albert was a member of the esteemed Grupo 99, a collective whose manifesto championed traditional values in art. His work was defined by a masterful command of wrought iron and weathering steel—materials he manipulated with striking ease to create compositions that merged mass and void, evoking movement and dynamic tension.
In 1996, Albert enrolled at the Faculty of Fine Arts of the Complutense University of Madrid and later expanded his studies at Camberwell College of Arts (University of the Arts London). From the outset of his academic training, he demonstrated a marked affinity for drawing and compositional structure—an inclination that permeated his entire body of work. A pivotal moment in his development came in 1999 with his encounter with renowned sculptor Martín Chirino, under whose guidance Albert refined advanced forging and sculptural design techniques, thanks to a scholarship from the Marcelino Botín Foundation.
Albert’s career was punctuated by numerous accolades, including the First Prize in Visual Arts from the Complutense University (2001) and the First Prize in Sculpture from the University of Seville that same year. His trajectory in monumental sculpture began with major public commissions, most notably the landmark work Puerta de la Tolerancia, installed in the city of Parla, Madrid. Over time, his large‑scale sculptures became integral to the urban fabric of various cities across Spain.
His work was exhibited both nationally and internationally, with appearances at prestigious art fairs such as Art Karlsruhe in Germany and exhibitions at 100KUBIK Gallery in Cologne. Albert also showcased his work through digital platforms such as Plastiké Art Gallery, solidifying his position as a significant figure in contemporary Spanish art.
Works Presented
Carlos Albert presented a total of twelve works on that occasion—two sculptures and ten collages—detailed below:
Velo (2023) – Stainless Steel – 10¼ × 14½ × 8 in
Between Keys (2023) – Painted Paper Collage – 22½ × 30 in
Deep Blue (2023) – Painted Paper Collage – 29¾ × 23½ in
Sea Tetris (2023) – Painted Paper Collage – 30 × 22½ in
Nocturnal Frame (2023) – Painted Paper Collage – 30 × 22½ in
Nocturnal Art Deco (2023) – Painted Paper Collage – 30 × 22½ in
Wet Land (2023) – Painted Paper Collage – 29½ × 41½ in
Diving Jellyfish (2023) – Painted Paper Collage – 20¾ × 14½ in
On the Bottom (2023) – Painted Paper Collage – 20¾ × 14½ in
House under Bayan (2023) – Painted Paper Collage – 20¾ × 14½ in
Blue Palm (2023) – Painted Paper Collage – 20¾ × 14½ in
Silence inside you (2023) – Sculpture (Corten Steel)
This exhibition is made possible thanks to the support of the Miami-Dade County Department of Cultural Affairs, the Cultural Affairs Council, the Mayor, the Miami-Dade County Board of County Commissioners and Rodriguez Collection
The Kendall Art Cultural Center (KACC), dedicated the past six years to the preservation and promotion of contemporary art and artists, and to the exchange of art and ideas throughout Miami and South Florida, as well as abroad. Through an energetic calendar of exhibitions, programs, and its collections, KACC provides an international platform for the work of established and emerging artists, advancing public appreciation and understanding of contemporary art.
READ MORE
The Rodríguez collection is a blueprint of Cuban art and its diaspora. Within the context of the new MoCA-Americas the collection becomes an invaluable visual source for Diaspora identity. It represents a different approach to art history to try to better understand where we come from to better know where we are heading.
READ MORE
