Carlos Martiel

Carlos Martiel (born 1989) is a contemporary installation and performance artist.[1][2]

Carlos Martiel
Born1989 (age 33–34)
Havana, Cuba
EducationTania Bruguera, Cátedra Arte de Conducta
Alma materEscuela Nacional de Bellas Artes "San Alejandro"
StyleEndurance art, durational art, performance art, installation art
Websitewww.carlosmartiel.net

Martiel was born in Havana, Cuba.[1][3] He identifies as queer and Afro-Latinx, with Haitian and Jamaican ancestry.[3][4][5][6] He graduated from Cuba's Escuela Nacional de Bellas Artes "San Alejandro" in 2009. In addition, he studied in the Cátedra Arte de Conducta (Behavior Art School) under Tania Bruguera from 2008 to 2010. Martiel lives and works in both Havana and New York City.[3][7]

Martiel's work can be characterized as endurance art. His artistic practice uses his own body, often nude, in order to draw attention to the embodied experience of Blackness under systems of violence and exploitation.[2][3][8] In his durational performances, Martiel frequently subjects himself to physical pain and self-harm.[9] This includes piercing his skin with a miniature flagpole flying an American flag, having a pest exterminator spray his body with insecticide, compressing his legs under the weight of a pear-tree trunk, stitching the collar of a blue shirt to the skin around his neck, and having a piece of his own skin surgically removed and preserved in a gold medal that he had designed.[1][2][4][8][10] Thematically, his works explore racism and racialization, gender, immigration, and the legacy of European colonialism in the United States.[1][2][3][11]

Martiel's works are included in the collections of the Solomon R. Guggenheim Museum, the Pérez Art Museum Miami, and the Museum of Modern Art, Rio de Janeiro.[7] His awards include a grant from the Franklin Furnace Fund (2016), a Grants & Commissions Program Award from the Cisneros Fontanals Foundation (2014), and the Arte Laguna Prize (2013).[12] In 2021, he received a Latinx Art Fellowship from the Ford Foundation, Mellon Foundation, and U.S. Latinx Art Forum.[13] In 2023, he became the first winner of the Maestro Dobel Latinx Art Prize by the Museo del Barrio.[14]

Performances and Exhibitions
  • Arquitectura para un cuerpo, Crystal Bridges Museum of American Art (2022)[15]
  • Monumento II, Solomon R. Guggenheim Museum, New York (2021)
  • Black Bodies – White Lies, K Contemporary, Denver (2020)[16]
  • Afro Syncretic [group exhibition], King Juan Carlos I Center, New York University (2020)[4]
  • Sabor a Lagrimas, Sharjah Biennial 14, United Arab Emirates (2019)[17]
  • Gente de color (People of Color), Fourteenth Cuenca Biennial, Cuenca, Ecuador (2018)[18]
  • Intruder (America), AC Institute, New York (2018)
  • América, Pacific Standard Time: LA/LA Performance Art Festival, Museum of Latin American Art, Long Beach (2018)
  • Mediterráneo, 57th Venice Biennale (2017)
  • CUBA: Tatuare la storia [group exhibition], Padiglione d'Arte Contemporanea, Palermo, Italy (2016)[19]
  • We the People, Biennale Internationale de Casablanca, Hassan II Mosque, Morocco (2016)
  • Intersección, Museo de Arte Contemporáneo del Zulia (MACZUL), Maracaibo, Venezuela (2016)
  • 30th Anniversary Havana Biennial, Wilfredo Lam Center of Contemporary Art (2014)
  • Condecoración Martiel, Carlos, Cisneros Fontanals Art Foundation (2014)[20]
  • La Otra Bienal de Arte, Video Art of Central America and the Caribbean, La Macarena, Bogota, Colombia (2013)
  • Vanishing Point, Nitch Museum, Naples, Italy (2013)[21]
  • Prodigal Son, Witch House , Liverpool, UK (2010)

Source:[12]

References
  1. "Carlos Martiel". The Andrew W. Mellon Foundation. Retrieved 2021-11-05.
  2. "Driven by Self-inflicted Physical Pain". Cisneros Fontanals Art Foundation. Retrieved November 5, 2021.
  3. "Carlos Martiel (Cuba, 1989)". Museum of Latin American Art. Retrieved 2021-11-05.
  4. Flores, Tatiana (2021-04-01). "Dialogues". Latin American and Latinx Visual Culture. 3 (2): 46–49. doi:10.1525/lavc.2021.3.2.46. ISSN 2576-0947.
  5. Godoy, Marcial. "Interview with Carlos Martiel". Hemispheric Institute. New York University. Retrieved 2022-09-21.
  6. Mendef, Marina (2022-02-04). "Carlos Martiel's performance beyond the museum walls". Bubblegum Club. Retrieved 2022-09-26.
  7. "Carlos Martiel: 2019-2020 Artist In Residence". Hemispheric Institute. Retrieved 2021-11-05.
  8. Valencia, Marelys (2010). "Carlos Martiel and the Transnational Politics of the Black Body". PARSE. Spring 2020 (10).
  9. Dupuis, Chris (2019-04-05). "From Marina Abramović to Carlos Martiel, a Tradition of Self-Harm in Performance Art". Hyperallergic. Retrieved 2022-09-21.
  10. Akers, Tyler. "Carlos Martiel". Gayletter (14).
  11. "Carlos Martiel, 'Monumento II' ('Monument II') Program Information". The Guggenheim Museums and Foundation. Retrieved 2022-09-21.
  12. "Carlos Martiel". Sharjah Art Foundation. Retrieved 2021-11-05.
  13. Durón, Maximilíano (2021-07-12). "Ford, Mellon Foundations Team Up for $5 M. Initiative Focused on U.S. Latinx Artists". ARTnews.com. Retrieved 2022-09-23.
  14. "Carlos Martiel Wins Museo del Barrio's Inaugural Maestro Dobel Latinx Art Prize". Artforum. 2023-09-08. Retrieved 2023-09-25.
  15. "Arquitectura para un cuerpo | Carlos Martiel". Crystal Bridges Museum of American Art. Retrieved 2022-09-23.
  16. Urzua, Barbara (2020-08-13). "Cuban Performance Artist Carlos Martiel Brings His Powerful Art Back to Denver". 303 Magazine. Retrieved 2021-11-05.
  17. Parton, John (2019). "Sharjah Biennial 14: Leaving the Echo Chamber [review]". Art Monthly (426): 24–25 – via ProQuest.
  18. Rodriguez, Yelaine (2021-04-01). "Afro-Latinx at NYU". Latin American and Latinx Visual Culture. 3 (2): 50–59. doi:10.1525/lavc.2021.3.2.50. ISSN 2576-0947. S2CID 236755101.
  19. "CUBA.Tatuare la storia | PAC". Padiglione d'Arte Contemporanea (PAC). Retrieved 2021-11-05.
  20. Perugini, Flavia; Mayoral, Flor; Godoy, Daniel (2016-06-01). "Surgery, conservation, art: An unusual collaboration". Studies in Conservation. 61 (sup2): 315–318. doi:10.1080/00393630.2016.1191004. ISSN 0039-3630. S2CID 193614274.
  21. Flores, Tatiana; Stephens, Michelle (2016). "Contemporary Art of the Hispanophone Caribbean Islands in an Archipelagic Framework". Small Axe: A Caribbean Journal of Criticism. 20 (3): 80–99. doi:10.1215/07990537-3726878. ISSN 0799-0537. S2CID 151921603.
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