Eduardo M. Abela Torrás. (b. Havana, 1963) Graduated from San Alejandro in 1991. His father, J. Eduardo Abela Alonso, and grandfather, Eduardo Abela, are accomplished painters. He is a member of the UNEAC (National Union of Cuban Writers and Artists), member of the Experimental Graphic Workshop and of the Humorists Association of Cuba. Abela has exhibited extensively in Cuba, but has also participated in group and solo shows in Spain, Italy, Puerto Rico, Panama, Sante Fe, Chicago and various locations in Florida. His paintings offer a witty, often comedic view of Cuban history and social events. “between the sixty and the eighty the pleasant speeches of the appointment, the parody or the silepsis like supreme ways prevailed of transforming into emblem the practice of new-baroque colloquy that still when he enjoys the distance of the relating one, he still prefers not to whisk away it of an everything. In the ninety the sensibility of the pastiche substitutes however, to the thickness of the parody, and the mockery comes to be the last consequence of the perverse sketch: you ends up emulating a relating text that doesn't exist that is invented by the own grimace. It is for it that the appropriation term gives before other subtler, that of intervention, apparently robbed of the boasting of its precedent” Fragments of the text Credulous yesterday, rebellious always. July, 1998 by Rufo Caballero.
https://www.kendallartcenter.org/abela
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.
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.
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