Author Archive

Diana Copperwhite at Royal Hibernian Academy


Bernard Ammerer “Interface”

Bernard Ammerer

May 19 – June 30, 2016

A woman races from nowhere to nowhere through an indistinctly rendered forest. A loose scattering of young men hovers in a strange white space, suspended in time. Solitary wanderers traverse barren plains toward destinations that loom invitingly in the distance, yet fade into disheartening insubstantiality upon arrival. At every turn, there is the sense of something forever sought but never seized.

In his first solo show in the United States at 532 Gallery Thomas Jaeckel, Bernard Ammerer depicts a private domain of desolate landscapes and vaguely restless figures that would border on the surreal if it didn’t feel so eerily familiar. Across the exhibition’s dozen canvases—all from this year and last—we see small cliques of physically and psychologically isolated people at uneasy rest or in frantic motion; cloud-filled skies looming serenely over flat, featureless, stark-white plains; and lone travelers in obscure territories that are shrouded in fog, reduced to cartoonish black silhouettes, or completely replaced with generic words—Wood, Field—that diminish nature to a worthless and empty abstraction.

Ammerer’s pointed and ironic titles often hint at the somber thread of disaffection that ties these works together. Interface—a six-foot-square canvas depicting a constellation of nondescript young men in jeans and t-shirts frozen mid-leap in a white void—is most notable for the palpable lack of physical and psychological interaction among its inhabitants. Fulfillment Problem—that bland euphemism from the realm of online commerce that so often signifies corporate ineptitude and consumer frustration—is paired with the image of a cloudy yellowish sky overrun with a chaotic, maze-like swarm of identical running figures lifted from a Children At Play traffic safety sign. The infantile and perpetually unsatisfying urge toward instant gratification that’s satirized here is subtly underscored by Boyhood, which presents the sad and wistful disembodied head of a child floating alone in a dark, nebulous space. It’s the only place in these works where an actual face can be seen, and its stark difference from the other canvasses hints at an irrevocable loss of naive serenity that no hoard of shiny toys, transient pleasures, or wanderlust can amend. The moral—for Ammerer’s oblivious protagonists as well as us—is perhaps best embodied in Home, with its ghostly white house at the end of a blank path in a barren field: far too often, our ill-considered quests away from ourselves in pursuit of the Next Perfect Thing leave us alone and exhausted before a hollow apparition.

Bernard Ammerer (1978) lives and works in Vienna. He graduated University für angewandte Kunst, Wien in 2010 and is the recipient of the Strabag Art Award.
Recent exhibitions include “Vorher Nachher” Galerie Frey Wien (solo), Dagong Art Museum, Qingdao (group), “Subjects” Galerie Drees, Hannover, (group) “A Better Place” Galerie Frey, Salzburg,(solo) “You Choose” Berlin Art Projects, Berlin(group)

For further information, please contact 532 Gallery Thomas Jaeckel by phone at 1.917.701.3338, or by e-mail at

Preview works here


BBC: Palmyra’s Arch of Triumph recreated in London

One of the most visually striking pieces at the gallery is by British artist Piers Secunda, who creates moulds of bullet holes made by so-called Islamic State militants and casts them in replicas of ancient reliefs.

Art New York & CONTEXT New York Reveal 2016 Subway Series





Elio Rodriguez: “On Guard” April 8- May 30th; Hutchins Center, Cambridge


Vincench Caligrafia del Silencio

El Diario NY March 10



Elio Rodriguez

April 1 – May 14, 2016

Elio Rodriguez’ first solo exhibition in New York City is comprised of large scale soft sculptures and will be on view at 532 West 25th Street until May 9, 2016. Coinciding with his exhibition On Guard, at Harvard University’s Hutchins Center for Afro-Latin Studies and Context Art New York, Pier 94, May 4-8, 2016.
An opening reception for the artist will be held Thursday, March 31 from 6 to 8 p.m

Elio experiments with the construction of the intimacy of interior and exterior spaces, all things carnal and decorative, functional and artistic, manufactured and native.  His soft sculptures reimagine familiar forms using, in abundant measure, plant and carnal shapes, juxtaposed against sundry objects, metal screws, lace corsets, chains, belts, wire, filament, pins — with results that are pictorial equivalents of familiar concepts and concerns.

In his stuffed, massive soft sculptures, loaded messages about stereotypes, sexual or racial or otherwise, are hidden within exaggerated, provocative rendering of the mysteries of organic, invasive fauna, entangled in space by which a far-out untamed nature is introduced.  Lush, ritualistic, magical, multiple perspectives serve as metaphors for the state of his own Afro-Cuban-ism coalesced with the state of the female, as might be interpreted through the popular discourse in our modern times.

Elio’s work may veer into a kind of kitsch, but he does so magnificently in the most unlikely, playful, witty, voluptuous, sensory, sensual ways.

Elio Rodríguez (Havana, 1966) graduated from Havana’s Higher Institute of Art (ISA) in 1989 and quickly became one of the leading figures in the new Afro-Cuban cultural movement that emerged in Cuba during the 1990s. He has had solo and group shows in Latin America, Europe and the US. In 2015, Elio was the Cohen Fellow at the Du Bois Research Institute and the Afro-Latin American Research Institute, Hutchins Center for African & African American Research. His artworks are part of important public and private collections, including National Arts Museum of Cuba;  Von Christierson Collection, London;  Shelley & Donald Rubin Collection, New York; Peggy Cooper Crafritz Collection, Washington DC;  W.E.B. Du Bois Institute, Harvard University.





pulse nyc 2016

Pulse NYC 2016, VIDEO 60 SEC


PULSE NYC March 3 – 6, 2016

Pulse Play Selection (1 of 3): Les Joynes,  Shapeshifter (2014) video 2:30 min.

In Shapeshifter, New-York based, Les Joynes recontextualizes Joseph Beuys’ I Like America and America Likes Me (1974) during his journey to the Khovsgol Province in Northern Mongolia.
Exploring nomadic identity, Les Joynes performs this shamanic ritual expanding his Selfhood in the adaptation of the Other.


Pulse Projects Selection: Armando Marino, Narcissus (2016) oil/ canvas

Inspired by the classic Greek mythology and today’s youth culture, Armando Marino’s large scale Narcissus is part of a series of his major oil paintings
that would reflect his romantic commentary on the growing prevalence around us of taking smartphone “selfies”.  Narcissism is alive and well.


In Acts of Resistance, Artists and Scholars Digitally Reconstruct the Past



The Weight of Words


José Angel Vincench

February 26 – March 26, 2016

Thomas Jaeckel and Rachel Weingeist are pleased to announce recent works by Cuban artist, Jose Vincench in The Weight of Words, an exhibition of painting and sculpture.  Works by the artist will be exhibited concurrently in Jaeckel Gallery and at the Pulse New York art fair (Booth A209, March 3-6) and the University of Tampa’s Scarfone Hartley Gallery, FL (March 4-18).

A key figure in Cuban contemporary art, Vincench is identified in his latest works with visually aseptic, abstract imagery that is largely heir to the legacies of concrete abstraction, conceptualism, and language-based art.  His work often reflects an underlying process of deconstruction meant to express his experience within the social-political actuality of Cuba today, especially the use of rhetoric as a means of symbolic domination and referencing the sometimes tragic aftermath of resistance  and dissent. Thus Vincench positions himself within a still central dichotomy of art-making in post-revolutionary Cuba: between the inner search for beauty, self-awareness, and art for art’s sake, and the more outward-facing urge to reflect on, criticize, or attempt to transform social reality by activism. (David Horta)

 In works on canvas from his ongoing series, Vincench uses the geometry of highly charged Spanish-English cognates, such as Autonomia (Autonomy), Gusano (Worm aka Traitor), Exilo (Exile).  Stacking the letters on top of each other using a personalized iconic geometry, Vincench builds his own vocabulary and meaning.  Today it is the Gusanos (Traitors) who are able to provide capital to reinvest in their motherland, ironically.

Gold leaf works on canvas and Action Paintings (Pintura de action), splattered gold illuminations depict rarely documented and often not reported incidents of paint thrown at the houses of Cuban dissidents.  An appropriation of these little known, low resolution Cuban image files, pixelated and distorted, are sweetened by the artist’s decorative gold interpretations.

Vincench: “Gold leaf provides me a seductive, poetic and lyrical old world craft material. I am intentionally creating a decorative product, ironic historical reality of yesterday and today, where we can forgive and reconcile.  My abstraction starts with photos, testimony of the violence of the government on the dissidents, but more than a political statement I prefer to talk about the silence in the civil society and art.  The artworks absorb the cynicism of this society, they are ironically based on the human drama found in images and words.”

Vincench’s paintings and sculptures are simultaneously intellectually challenging and conceptual works with resplendent minimal appeal.

A respected Professor at the infamous graduate program of the Instituto Superior de Arte in Havana, Cuba, Vincench’s work is a part of numerous private and public international collections including: Museo Nacional de Bellas Artes, La Havana, Cuba; Pizzuti Collection; CIFO Collection, Miami, FL; Frost Museum, Florida International University, Miami; Perez Collection, Miami;  Shelley and Donald Rubin, New York, NY; Chris von Christierson, London, UK; Estrella Brodsky, New York, NY.
















Winter Salon

   through feb 22

Jaeckel Gallery is pleased to present a winter group show.  This show features many returning artists to our gallery, as well as a few artists showing with us for the first time.  The works on view include smaller scale works in a variety of mediums.

To highlight just a few.  Text-based “Witt” drawings by Alastair Noble, a meditation on Wittgenstein’s “Remarks on Colour”, communicate the colors mentioned and the content in Wittgenstein’s text about the ambiguities of light and color. John Parks’s delicately painted “Garden with Soldier” presents a wistful and very gently ironic vision of his English heritage. Holger Keifel’s photograph of Louise Bourgeois ‘Hand with Clay’ exists in a hidden message or puzzle. Kathy Bruce’s eclectic signature mix of collage and drawing takes a more classical turn in her “Adaptive Behavior” series. Abstract paintings by Jac Lahav evoke the philosopher’s stone, magical talismans, his youth by the Mediterranean. Ilyan Ivanov’s “Self Portrait” paintings explore the ambivalence between geometric structure and free brush strokes, reflecting one’s own personal conflicts between convention and spontaneity.  In Kylie Heidenheimer’s “Carnival”, she twists and wrests space via “drawn” line and intentionally placed marks. Marcy Brafman’s “Cents Rubbing Bestine” is a meditation on the magnetic field where the invisible runs the show, a place half remembered.

Each of the artists featured in the show speaks in a distinctive voice.

Featuring: Per Adolfsen, Marcy Brafman, Kathy Bruce, Diana Copperwhite, Marie-Dolma Chophel, Jeffrey Cyphers, Kylie Heidenheimer, Ian Hughes, Ilyan Ivanov, Holger Keifel, Jac Lahav, Julie Langsam, Darrell Nettles, Alastair Noble, John Parks, Danny Rolph, Elio Rodriguez, Jean Karl Petion, Piers Secunda, Tanja Selzer.

“Winter Salon” opens this Friday, 5 February and continues until 22 February, 2016.


Jose Angel Vincench

José Angel Vincench 

Holguín, Cuba, 1973.


1992-1997 Instituto Superior de Arte (ISA), La Havana, Cuba.

1988-1992 Escuela de Nivel Medio Superior de Holguín, Cuba.

1985-1988 Escuela Elemental de Artes Plásticas de Holguín, Cuba.


2016 The Weight of Words. Thomas Jaeckel (532) Gallery New York

2015 Cuestión de tiempo. Antonio Vidal – José Vincench. Galería Acacia. Havana.

2012 Open Studio. Havana.

2011 Vincench Vs Vincench. Galería Virginia Miller. Miami.

La luz y la oscuridad. Havana Gallery, Zurich, Suiza.

2010 Estudio abierto. Estudio-Galería, La Havana, Cuba.

2009 Obra reciente. Estudio-Galería, La Havana, Cuba.

2007 Lo que te puedo decir. Galería 23 y 12, La Havana, Cuba.

Rogación de cabeza. Casa Iberoamericana, Holguín, Cuba.

Behind the abstract.  Axis Contemporary Art, Calgary, Canadá.

2006 Realidades mágicas. Havana Gallery, Zurich, Suiza.

Social y Religioso. Intervención en el estudio del artista, La Havana, Cuba.

2005 Una imagen vale más que mil palabras. Intervención en la casa del     artista, La Havana, Cuba.

2003 Una cosa lleva a la otra. Galería Habana, La Havana, Cuba.

2002 Freezing Memories. dpm arte contemporáneo, Guayaquil, Ecuador.

2001 J. A. Vincench, MAM Gallery. Douala, Camerún.

2000 Ni es lo mismo ni es igual, Galería Habana. La Havana, Cuba.

Desde el interior de la tierra, Havana Gallery. Zurich, Suiza.

Desde el interior de la tierra, Centro Cultural de España. La Havana, Cuba.

Desde el interior de la tierra, Galería Juan David. La Havana, Cuba.

1998 Obsesiones. Hacer de lo privado lo público, Centro Wifredo Lam. La Habana, Cuba.

1997 Acerca de lo privado y lo público, Centro de Desarrollo de las Artes Visuales. La Havana, Cuba.

1996 Trabajo reciente. Raúl Cordero (fotografías) / José Ángel Vincench (instalaciones), Galería 23 y 12. La Havana, Cuba.

1992 Deconstrucción, Centro de Arte. Holguín, Cuba.


2015 Context Art Miami. Thomas Jaeckel (532) Gallery, New York

2014 Hacerse el Chino. Havana Gallery, Zurich.

2013 Puente. Helen Day Art Center. Vermont.

The Silent Shout: Voices in Cuban Abstraction / El grito silencioso: Voces en la abstracción cubana. Virginia Miller Gallery.

New Acquisitions. Paul and Lulu Hilliard University Art Museum. Lafayette, Louisiana.

Waiting for the Idols to fall. The 8th Floor, New York.

2012 Message from La Habana: Six Contemporary Cuban Artists. Zane Bennett Gallery, Santa Fe, Nuevo México.

Bienal de Liverpool. Inglaterra.

11 Bienal de la Habana. Havana.

2011 Cuban Visions. Metropolitan Pavillon Gallery. New York.

Art Bo. Bogotá. Colombia.

Siniestros. Galeria Habana. Havana.

Caminos. Sala Villena. Uneac. Havana.

Rastros. Galería Ecoh. México.

Ya sé leer. Texto e Imagen en el Arte Latinoamericano. Centro Wifredo Lam.

2010 The Von Christierson Collection. Without Mask. Johanesgurg Art Gallery (JAG).

2009 Libros y grabados de artistas cubanos 1985-2008. Exhibition Itinerary:

Grolier Club of Manhattan, New York.

Charlotte and Philip Hanes Gallery, Wake Forest University, Winston-Salem, North Carolina.

Robert Hull Fleming Museum, Burlington, Vermont.

Latino Arts, Inc, Milwaukee, Wisconsin.

XX Años no son nada. Centro de Desarrollo de las Artes Visuales, La Havana

Mama’s little girl. Art Baselita. Miami.

Fuerte es el morro, who I am?. Aglutinador-laboratorio, Cuba.

Cathryn Griffith & J.A.Vincench, Obra reciente. Maqueta de Miramar, Colateral a la 10 Bienal de la Havana, Cuba

Perra subasta. Aglutinador-laboratorio, Cuba.

10 años de Havana Gallery. Zurich. Suiza.

2008 Surrounded by water. Boston University Art Gallery.

Isla in Continente. Bienal del Istmo Centroamericano, Galería Nacional de Arte, Tegucigalpa, Honduras.

¡¡Curadores, go home!! . Espacio Aglutinador, Cuba.

Visiones desde una isla. Arte contemporáneo de Cuba. Espacio Arte Actual, FLACSO,

Quito, Ecuador.

Cuba: Artists Experience Their Country. Hunterdon Museum of Art,New York.

Terapia de grupo. Galería Fernando Pradilla, Madrid.

2007 Domesticación. Espacio Aglutinador, Cuba.

Espacios multiplicados. Centro de Desarrollo de las Artes Visuales, Cuba.

Killing time Exit Art – New York. Mayo- Agosto 2007.

Monstruos devoradores de energía. Casa América, Madrid, España.

Monstruos devoradores de energía. Gran Palais de Paris, Francia.

Devoradores de energía. Trienal Bosiva, Milán, Italia.

Beyond boundaries. FourbyFive, Gallery of photography, Calgary. Canadá.

2006  Waiting List (Lista de espera) Tiempo y Proceso en el Arte Cubano Contemporáneo.

Mestna Galerita. Ljubljana – Slovenia. Diciembre 2006.

Sombras que solo yo veo, Galería L, La Havana, Cuba.

Manual de Instrucciones, Cencrem, Colateral a la 9 Bienal de La Havana, Cuba.

2005 4to Salón de Arte Contemporáneo. Centro de Desarrollo de las Artes Plásticas. La Havana, Cuba.

2004 50×70, Havana Gallery. Zurich, Suiza.

Just on time, Galería Habana. La Havana, Cuba.

Barro América, 5ta edición. San Felipe, Venezuela.

Cuba hoy, Galería entre aguas. Madrid, España.

2003 Anden 10, Universidad Católica de Ecuador. Ecuador / Centro de Desarrollo de las Artes Visuales. La Havana, Cuba.

4 Artistas Holguineros, Havana Gallery. Zurich, Suiza.

Doble Seducción. (Videos a la carta), Sala Amadís del Injuve. Madrid, España / Centro Cultural de España. La Havana, Cuba.

Maneras de inventarse una sonrisa, Centro de Desarrollo de las Artes Visuales. La Havana, Cuba.

Octava Bienal de la Habana. La Havana, Cuba.

2002 Dak’ ART Biennale de L’art Africain Contemporain. Senegal.

From a Black Hole, Son Space, Pals. Girona, España / Christian Dam Gallery. Copenhague, Dinamarca.

El museo crece, Museo de Bellas Artes. La Havana, Cuba.

2001 Visiones y transgresiones, Galería Nacional Museo de los niños. Costa Rica.

Arte Cubano, Entre el lienzo y el papel, Sala Miro, sede de la UNESCO. Paris, Francia.

Arte Contemporáneo Cubano, Centro Cultural Metropolitano. Quito, Ecuador.

Fotografía Contemporánea Cubana, Fototeca de Cuba. La Havana, Cuba.

ABC-CUBA Gráfica Contemporánea, Galería Habana. La Havana, Cuba.

III Salón de Arte Contemporáneo, Centro de Desarrollo de las Artes Visuales. La Havana, Cuba.

2000 Una mano… y las dos?, Centro de Desarrollo de las Artes Visuales. La Havana, Cuba.

Mitos en el Caribe, Galería Haydee Santamaría. La Havana, Cuba.

1999 La huella múltiple, Centro de Desarrollo de las Artes Visuales. La Havana, Cuba.

Mind the gap, APT Studios. Londres, Inglaterra.

Trabajando Pa’l Ingle, Concourse Gallery, Barbican Centre. Londres, Inglaterra.

While Cuba Waits: Art in the Nineties, Track 16. Santa Mónica, Los Ángeles, Estados Unidos.

Temporal Visions, Fordsburg Artists’ Studios. Johannesburgo, Sudáfrica.

1998 Nuevos y sinceros, Centro de Desarrollo de las Artes Visuales. La Havana, Cuba.

La  imagen y el laberinto. España.

La fuerza viene de todos, Centro de Desarrollo de las Artes Visuales. La Havana, Cuba.

Trabajo reciente, Havana Gallery. Zurich, Suiza.

Maferefún Cuba, The Metropolitan Pavillon Gallery. Estados Unidos.

Dibujo, Havana Gallery. Zurich, Suiza.

II Salón de Arte Contemporáneo Cubano, Centro de Desarrollo de las Artes Visuales. La Havana, Cuba.

1997 Los que ya no están, Centro de Arte. Holguín, Cuba.

Arte Contemporáneo del Caribe y Suecia, Galería Latinoamericana. La Havana, Cuba / Galería Mar Blanco. Suecia.

El ocultamiento de las almas, Centro de Desarrollo de las Artes Visuales. La Havana, Cuba.

Pinturas del silencio, Galería La Acacia. La Havana, Cuba.

Trabajo por cuenta propia, Universidad de La Habana. La Havana, Cuba.

Feria de Arte de Guadalajara. Guadalajara, México.

V Salón de Dibujo de Santo Domingo. Santo Domingo, Republica Dominicana.

El arte que no cesa, Centro Wilfredo Lam. La Havana, Cuba.

1996 Las otras escripturas, Galería Luz y Oficios. La Havana, Cuba.

Proyecto Río Almendares: ni fresa ni chocolate, Centro Nacional de Conservación, Restauración y Museología. La Havana, Cuba.

Los héroes de la plástica cubana, Galería San Antonio Abad. Islas Canarias, España.

Giro de tuerca, Taller de Serigrafía. La Havana, Cuba.

1995 El Rápido, Galería ISA. La Havana, Cuba.

Arte Abstracto Cubano, Galería Habana. La Havana, Cuba.

La idea pura, Galería Teodoro Ramos. La Havana, Cuba.

Salón Juan Francisco Elso, Museo Nacional de Bellas Artes. La Havana, Cuba.

Pinturas del silencio, Centro de Arte. Holguín, Cuba.

Salón de Arte Contemporáneo Cubano, Museo Nacional de Bellas Artes. La Havana, Cuba.

El oficio del arte, Centro de Desarrollo de las Artes Visuales. La Havana, Cuba.

1994 No valen guayabas verdes, Galería ISA. La Havana, Cuba.

Salón de la Ciudad de Dibujo, Centro de Artes Plásticas y Diseño. La Havana, Cuba.

1992 Todos abstractos, Centro de Arte. Holguín, Cuba.


1998 Mención especial V Salón de Dibujo de Santo Domingo, República Dominicana.

1995 II Premio I Salón de Arte Contemporáneo Cubano. Museo de Bellas Artes, La Havana.

1994 I Premio Salón de la Ciudad de Dibujo. Centro de Artes Plásticas y Diseño, La Havana.



2015 Context-Art Miami, Thomas Jaeckel (532) Gallery New York
2013 Art Pulse, New York. Galeria La Acacia.
2011 Art Bo, Colombia.
2007 Subasta de Juannio, Ciudad de Guatemala.
2006 Art Americas Fair, Bourbon-Lally Gallery. Miami, USA.
2005 Toronto International Art Fair, Galería Servando. Canadá.
2004 Off the Main, Bourbon-Lally Gallery. New York, USA.
Art Bassel. Havana Gallery. Zurich, Suiza.
2003 Scope Art Fair, Bourbon-Lally Gallery. Miami, USA.
Feria de Arco. Madrid, España.
Subasta Habana, Club Habana. La Havana, Cuba.
2002 Subasta online, Museo del Ron. La Havana, Cuba.
2000 International Young Art 2000. Tel Aviv, Israel / Chicago, USA / Vienna, Austria.
1999 Art Paris, Galeria Habana. Carrousel del Louvre. Paris, Francia.
1998 Feria de Arco. Madrid, España.
1997 Feria de Arco. Madrid, España.


APT Studios. Londres, Inglaterra. (Marzo-mayo 1999)

Fordsburg Artists’ Studios. Johannesburgo, Sudáfrica. (Julio-septiembre 1999)

Cuban Artists Found. New York, 2004.



Pizzuti Collection. Columbus, OH, USA.

Colección CIFO. Miami.

Frost Museum, Florida International University. Miami.

Paul and Lulu Hilliard University Art Museum. Lafayette, Louisiana.

Fundación Rubín. New York.

Museo Nacional de Bellas Artes, La Havana, Cuba.

Havana Gallery, Suiza.

Galerie MAM, Douala, Camerún.

Axis Contemporary Art, Calgary, Canadá.

Colección Chris von Christierson.

Colección Alina Pedroso. New York.

Colección Estrella Brodsky, New York.

Colecciones privadas en España, Suiza, Alemania, Sudáfrica, Camerún, Estados Unidos, Israel, Austria, Argentina, Ecuador, México, Canadá y Francia.



Alvarez, Lupe. Arte Abstracto Cubano. Galería Habana, febrero 1995 (Inédito).

Alvarez, Lupe. En catálogo La imagen y el laberinto, 1998.

Alvarez, Lupe. En catálogo While Cuba Waits: Art in the Nineties, 1999.

Arce, Yissel / Rodríguez, Ania. La otra mirada al culto. En revista Unión, julio-septiembre, 1999.

De la Nuez, Rubén. De la telaraña al pulgar. Gaceta No. 3, mayo-junio 1997.

Espinosa, Magaly. El espacio de lo cotidiano y el sabor del etnos: Estudios Culturales Latinoamericanos en la producción simbólica  de lo “diferente”. En Revista Arte Cubano, No 3, 2000.

Espinosa, Magaly. La crítica a la perturbación humana. En Revista Revolución y Cultura,  2000.

González-Mora, Magda Ileana. Obsesiones. En Revista Arte Cubano. 1/1999.

Hernández Erena. ¿Alivio o perturbación? (Inédito).

Hernández, Orlando. …hasta donde puedas. En catálogo Trabajando Pa’l Inglé, Barbican Centre, Londres, mayo 1999.

De la Hoz, Pedro. Un salón sin pasos perdidos. En Revista Arte Cubano, Enero 1996.

Martínez Bárbaro. Las palabras y los objetos. En catálogo Trabajo Reciente, julio 1996.

Pascual, Omar. La huella simbólica: (de) re-construcción y vaciado en J. A. Vincench. Septiembre 1995 (Inédito)

Pascual, Omar / Martínez, Bárbaro. Las ficciones verdaderas. En catálogo Trabajos Recientes, julio 1996.

Power, Kevin. En catálogo While Cuba Waits: Art in the Nineties, 1999.

Romeu Vivian. ¿Un signo que nunca miente? (inédito)

Romeu Vivian. Apuntes para una monografía. José A. Vincench. Revista Arte Cubano No. 2, 1999.

Romeu Vivian. La prudencia, estrategia para un triunfo. Revista Revolución y Cultura, La Habana, diciembre, 1998.

Romeu Vivian.  Pretextos estéticos para reflexionar sobre el compromiso estético-político del artista contemporáneo. Revista Afuera, Agosto 2009.

Block, Holly. En catálogo, ART CUBA. The New Generation, 2001.

Noceda, José Manuel. Más allá de la liturgia. En catálogo J.A.Vincench (1995-2002), 2003.

Noceda, José Manuel. Más allá de la liturgia. Revista de arte y pensamiento. Número especial Atlántica 41-42.


You Tube & Google. José Angel Vincench Barrera.





Forget DiCaprio: These Are The Real Stars of Art Basel Miami Beach


Piers Secunda

Born in London, 1976, lives and works in London and New York

Piers Secunda’s aim in life as an artist is to make records of the time in which he lives. Making a record of the violent attempts by ISIS (the Islamic State in Iraq and Syria) to erase our collective cultural heritage in the Middle East is a matter of real importance and urgency to him. For this reason he traveled to the front line of the war against ISIS in Iraq in 2015 to cast ISIS bullet holes.

“Occasionally a moment occurs in which it is worth taking the risk to travel to a dangerous place. This was one such moment.”

In Art Historical terms, Secunda’s work reminds me of Picasso’s “Guernica” and Goya’s “Los Desastres de la Guerra” — but in a Postmodern minimalist way.

1995-1998 BA Painting, Chelsea College Of Art, London

1994-1995 Foundation, Surrey Institute Of Art, Farnham

Selected exhibitions including solo projects 

2016                Pergamon Works. New York University, New York (Solo show)

2016                 Engines and Panoramas. Bermondsey Project Space, London. (Solo show +Catalogue)

2015                 Raw: Word And Image. Space 776, Brooklyn, New York

2015                 Community Hospital. WhyWhyArt. Shanghai

2015                 Tribeca Film Festival. Spring Studios, New York (work donated as best documentary award)

2015                 Archived Oil. David Krut Projects, New York. (Solo show)

2014                 The Rise Of Oil. Jessica Carlisle Gallery, London. (Solo show)

2014                 The Social Bases of Abstraction. UpDown Gallery, Ramsgate. Curated by Ben Weidel Kaufmann

2014                 Art Asia in London Fair. Guus Roell Fine Art, Maastricht.

2014                 War Stories. William Holman Gallery, NYC. Curated by Anthony Haden-Guest

2014                 Art14. UpDown Gallery, Olympia, London.

2013                 One. UpDown Gallery, Ramsgate.

2013                 Winter Exhibition. Small Works Gallery, Brisbane, Australia.

2013                 Piers Secunda: A Retrospective. UpDown Gallery, Ramsgate (Retrospective show +Catalogue)

2013                 Taliban Paintings. Kuub Kulture Space, Utrecht, Holland. (Solo show)

2013                 W-A-R. Jacob’s Island Gallery, London

2013                 Let Me Introduce… UpDown Gallery, Ramsgate

2012                 Black Gold. Vegas Gallery, London

2012                 The Materiality of Paint. Fine Art Society, London

2012                 Taliban Bullet Holes. Small Works Brisbane, Australia (Solo show)

2012                 Piers Secunda. Kuub Kulture Space, Utrecht, Holland (Solo show)

2012                 L&M Arts. Hong Kong Fair

2012                 Taliban Bullet Holes. YK Art, Moganshan Rd, Shanghai (Solo show)

2012                 Paradox, The Limits of Liberty. Castrum Peregrini, Amsterdam

2012                 No One To Hear You Scream. Saamlung Gallery, Hong Kong

2012                 Immortal Nature. Edel Assanti, London. Curated by Gordon Cheung

2011                 Taliban Reliefs and Crude Oil Silkscreens. Aubin Gallery, London (Solo show). (Catalogue)

2011                 Signal8. Cat Street Gallery, Hong Kong

2011                 The Great Alonso. Primo Alonso Gallery, London

2011                 The Nature of change: Hybridity and Mutation. HRL Contemporary, London (Catalogue)

2011                 Equisite Corpse. Zero Ten Gallery, London

2010                 The City Folding Out. Yong Kang Lu Art, Shanghai

2010                 Uber Collision: Epic Fail. Idea Generation, London

2010                 The Earth Draws It. Zero10 Gallery, London (Solo show)

2010                 Mob Remedies. Gallery Primo Alonso, London

2010                 Fakirs. Island6, Shanghai, China

2009                 Tate The Biscuit. Shoreditch Town Hall, London

2009                 Piers Secunda. Island 6, Shanghai, China

2009                 Paperview. John Jones, London (curated by Danny Rolph)

2008                 The Future Can Wait: New London School, (Catalogue) Truman Brewery, London

2008                 Mashups. DACS, London

2008                 Counterpoint, British Sculpture Now and Then. Robin Katz Fine Art, London. (with Anthony Caro. Eduardo Paolozzi, Conrad Shawcross, Barbara Hepworth etc.)

2008                 Space Now. Space, London. (with Yinka Shonibare, Mark Wallinger, Saskia Olde Wolbers, Hew Locke etc.)

2008                 Superscope. Lounge Gallery, London

2007                 Piers Secunda, Paint Assemblages. Nettie Horn Gallery, London (Solo show)

2007                 The Lucifer Effect. Gallery Primo Alonso, London (with Gordon Cheung, Boo Ritson, Anne Hardy etc)

2007                 Noel Forster and Piers Secunda: Paintings and Constructions. The University Of The Arts (Catalogue)

2005                 Secret. Royal College of Art, London

2005                 The Gentle Art of Making Enemies (Catalogue)

2005                 Salon Show. Hollow Gallery, London.

2005                 Yabadabadoo. Cell Project Space, London.

2003                 Paint In 2003. Century Gallery, London. (Catalogue)

2003                 10 Selected Works. Vogue House, Conde Nast, London.

2002                 Kiosk. The Kiosk Project, London.

2000                 Paint! Tivoli Arts Co-Op, Tivoli, New York.

1998                 The Temporary Museum. (with Chris Ofili, Gavin Turk, Peter Blake, Richard Long, Bob and Roberta Smith and Cornelia

Parker, London). (Catalogue)

1996                    Roll On-Roll Off. exhibition inside a Double Deck Bus, touring art

museums, London.

1995                 August Exhibition. Sotheby’s, London.

1994                 Nicholas Thorp Gallery, London.

Articles, Reviews and Essays and Radio Broadcasts

2012                 Vreihijd Magazine (Holland) Shot Into Paint, Catherine Somze

2012                 Randian Magazine, No One To Hear You Scream, Christopher Moore

2012                 Lust And Found magazine, Piers Secunda, January 2012.

2011                 The National, (UAE newspaper) Artist Puts Crude Oil To Use To Explore Materials History, Ben East 7th December 2011

2011                 Phaidon website, Piers Secunda’s Art Attack, November 2011

2011                 FX Magazine, Taliban Bullet Holes. Anna Lewis

2011                 Resonance FM, Taliban Bullet Holes, Half hour discussion broadcast on FM Radio in London, November 2011

2011                 The Independent, Piers Secunda’s Taliban Relief Paintings, 15th November

2011                 Six Pillars, discussion of the Taliban works. LBC FM radio, London

2011                 Time Out Magazine, Hybrids. 3rd March publication

2010                 The Independent, Anti Design, Daisy Bowie-Sell 21st September

2010                 Real Magazine, Design week and Art, November/December edition

2010                 Last FM, Uber Collision Epic Fail, 18th September 2010

2009                 CN Review, Fakirs, Kai Pan, published 4th January 2010

2008                 ID magazine, Mashups, Nate Lowman

2008                 The Future Can Wait: New London School, (Catalogue)

2008                 The London Paper, Mashups, August 19

2008                 Houston Press “Paydirt: Thames Mudlarks”, Troy Schulze (work illustrated)

2008                 Art Monthly “Superscope”, Cherry Smyth, March

2008                 Time Out “Rainbow Straightener” Martin Coomer
2008                 The Guardian Guide “Rainbow Straightener”
2007                 Fash’ N Riot May 2007 Edition (work Illustrated)

2007                 Jack Wakefield, Paint Sculpture (press release)

2007                 Martin Holman, Piers Secunda: No Tub To A Whale…(catalogue essay)

2007                 David Ryan, Noel Forster and Piers Secunda Paintings and Constructions (catalogue)

2003                 Dr. Tom Learner, Head Conservator, Tate. Modern Paint (catalogue)

2002                 James Bainbridge, Mobile Art, Guardian (work illustrated)


The University For The Arts (Chelsea College Of Art)

Aquest International, New York

The Weston Collection

Findlay Asset Management, New York

Howard Corporation, New York

Gottesman Collection, New York

Moore and Moore Arts

The Museum of Photography, University of Southern California.

McWilliams Collection, Santa Barbara, California

Borsetti Architecture, New York

Katz Fine Art, London

Dr. Michael Jacobs, New York

Sid Bass Collection, Texas
Guy Merison Collection, New York

Russel Toone, London
Ng Family Collection, London

Private Collections in the UK and US


Huffington Post

Artist Interview: Danny Rolph


Context Art Miami, 2015


December 2 – 6, 2015

CONTEXT Art Miami Pavilion | Midtown Miami – Wynwood

2901 NE 1st Avenue | Miami, FL 33137







October 1 – November 25, 2015

For his first solo show at 532 gallery Danny Rolph presents a new body of work made over the last year. The visual impact of Rolph’s works engages the viewer’s senses in a delicious ferment. The high velocity color and fractured narratives explored in these recent paintings show an uncompromising commitment to explore the compositional potential on all the canvases and triplewall plastic that he works upon. Many references populate these new works. The influence of Pop Art as well as Vermeer’s studio narratives and Tiepolo-like skies are located in the sharp, delicate, clean, irregular and emotive compositions he employs. They are spatially indulgent and adhere to a vocabulary indebted to the power of visual discovery.


Rolph has an MA in painting from the Royal College of Art, London and was awarded the Rome Scholarship at the British School at Rome. He is a professor of Fine Art at Bucks New University and is a visiting lecturer at the Royal Academy Schools, London. Rolph’s recent solo exhibitions include ‘Paradiso’, Barbara Davis Gallery, Houston 2014; ‘Atelier’, E.S.A.D. Valence, France 2013; ‘kissing balloons in the jungle’, Poppy Sebire gallery, London 2012 and ‘ten minutes from now’, Eden Rock Gallery, St.Barths, Caribbean 2011. His work is represented in many international collections including the Metropolitan Museum of Art, New York and the Tate Gallery, London.



The Wall Street Journal

Suburban Scenes, Poetic Paintings and Apocalyptic Art

Jessica Rohrer, Darrell Nettles and Jorge Tacla in this week’s Fine Art


‘When You Look at Me’ (2014) by Darrell Nettles.

‘When You Look at Me’ (2014) by Darrell Nettles. PHOTO: DARRELL NETTLES

Darrell Nettles’s paintings, gallery press materials say, “are ergodic in the deepest and most satisfying sense of the word.” Ergodic is a math/physics term indicating a system that operates over both time and space. Applied to the handsome, elegantly ordered letter-and-word pictures of Mr. Nettles (b. 1948), it seems to mean that the viewer is intended to appreciate them both spatially as paintings and sequentially, as texts to be read.

In terms of the former, the artist does a fine—actually, a refined—job. “When You Look at Me” (2014), at 82 by 60 inches one of the two big paintings in the show, is as dignified as a diplomat’s three-piece suit. Two smaller near-abstractions with partial letter shapes incised in thick white or black paint are more vigorously arresting.

The exhibition slumps a little in the midsize panels (about 3 feet high by 2 feet across) with sprayed-and-masked-off whole words. In them, the painting quotient is less, the poetry part greater. The poetry is conventionally abstruse, but not much more than that.


Broken Verse

Darrell Nettles

Broken Verse

June 4 – July 3, 2015

The paintings by Darrell Nettles in Broken Verse are ergodic in the deepest and most satisfying sense of the word: although they require a great deal of effort to unlock their secrets, the engagement they demand makes an encounter with them a rich and rewarding experience. Nettles’ linguistic impressionism employs the gravid ambiguity of language to reveal its deeper treasures; his visual meditations on the images and sounds of human communication owe as much to Klee and Kandinsky’s conflations of visual and musical composition as they do to the playful semantic games championed by the wordsmiths of Dada, Fluxus, and Pop.

Broken Verse is anchored by a series seven-foot-tall canvases arrayed edge to edge with dense pseudo-cryptographic patterns of thin block letters that are tightly juxtaposed and overlapped on soft-edged crossword puzzle grids. Elements have been added, effaced, and replaced into dense palimpsests; words emerge and sounds arise as the eye follows its own course. An underlying architectonic uniformity hints at a clandestine dialogue between the canvases. They speak from their own side with the compelling but exasperating self-assertion found in ancient cyphers and obscure old alchemical engravings.

In his most recent paintings, Nettles has gravitated toward texts that are more immediately legible on first glance, yet ultimately no less mysterious. Snippets of conversation torn from everyday life run from top to bottom in a font that recalls hand-stenciled shop signs; disjunctions and deliberate sidetracks are the mortar that holds them together. Phrases are stacked, clashed, amputated, and sometimes ripped apart and scattered chaotically. The resulting bits of quasi-proclamation and pseudo-communication are both sinister and amusing by turns, calling to mind the gentle snark of Ed Ruscha’s late-1970s word pastels: “drug allergy fake loiters just far enough from “radical wonton” to establish plausible deniability. Ghostly snippets of text murmur faintly in the background like a mildly sarcastic chorus, echoing, multiplying, and subverting surface meanings (is that “permit tonight” or “hermit night”?). Behind the chatter’s misdirection is the nagging sense of a deeper significance that awaits excavation and exegesis. Nettles’ works dare us to acknowledge the primal and sometimes neurotic need we have to make sense of it all, and the magical ability that language has to both fulfill and thwart that need.

Pictured: Darrell Nettles When You Look A t Me, 2014 Acrylic on canvas, 82″ x 60″

For further information, please contact 532 Gallery Thomas Jaeckel by phone at 1.917.701.3338, or by e-mail at



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