Wilfredo Prieto's 2016 Kurimanzutto Exhibition Explores Art, Utopia, and Latin American Contexts
Back in early June 2016, Wilfredo Prieto returned to Mexico City from Cuba for his second solo show since 2012 at Kurimanzutto Gallery, called “No Se Puede Hacer Una Revolución con Guantes de Seda.” The exhibition features delicate gestures set against the gallery's minimalist white space. While chatting with Leslie Moody Castro, Prieto discussed the varying social functions of art in Cuba compared to Mexico and expressed his thoughts on the market-focused nature of New York's art world. He referenced Gerardo Mosquera's essay that distinguishes between Latin American art and "Latin American Art." One notable work is Puñado de cobre, níquel y zinc (2016), made from crushed Mexican pesos, highlighting the irony of currency destruction. Prieto emphasized the importance of space and curation in his work.
Key facts
- Wilfredo Prieto's exhibition "No Se Puede Hacer Una Revolución con Guantes de Seda" opened at Kurimanzutto Gallery in early June 2016.
- This was Prieto's second solo show since 2012, created after returning from Cuba to Mexico City.
- The exhibition features small, powerful gestures within a white cube space, responding to the gallery's architecture.
- Prieto discussed art's social role, noting Cuba treats it as a philosophical moment with hierarchies.
- He described Mexico as a cultural generator due to chaos and crisis, fostering artist-audience dialogue.
- Prieto criticized New York's art scene for market dependency and self-censorship, preferring Latin American contexts.
- An outdoor piece, Puñado de cobre, níquel y zinc (2016), uses pulverized Mexican pesos and will fade over time.
- Prieto referenced Gerardo Mosquera's text on avoiding limiting labels like "Latin American Art."
Entities
Artists
- Wilfredo Prieto
- Leslie Moody Castro
- Gerardo Mosquera
Institutions
- Kurimanzutto Gallery
- SOMA
Locations
- Mexico City
- Mexico
- Cuba
- New York
- United States
- Latin America
- Europe
- Colombia