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February 27 – March 21, 2015

Opening Reception, Thursday February 26, 6-8pm

Curated by Rachel Weingeist

We are pleased to present En Voz Alta (Aloud), an exhibition of works by twelve Cuban-born artists: María Magdalena Campos-Pons, Alberto Casado, Duvier del Dago, Meira Marrero & José Toirac, Liudmila & Nelson, Yunier Hernandez, Joseph Michael Lopez, Armando Mariño, Douglas Pérez Castro, Reynerio Tamayo, Carlos Rodríguez Cárdenas, and Elio Rodríguez – seven living in Havana, four in the United States and one in Europe.

The steady erosion of the United States embargo against Cuba, since 2009, has given hope to many there and abroad that normalization between the two countries is possible. On the island, opportunity, or the perception of it, are more plentiful than ever. Many Cubans are celebrating the potential bounty, hoping that electronic connectivity and open trade are now or soon will be within reach.

The educational system in Cuba has produced prolific and undeniable talent whose artwork is now being lauded by art critics, curators and collectors as the best-kept secret in the art market today. The process of passing on a lineage under the Cuban system of student to artist to professor is as persistent and durable as Cuban culture itself.

En Voz Alta “gives sudden voice to an easy coupling of artists,” according to Rachel Weingeist, the curator, who wanted to respond to “the emotions that Cuban artists are expressing – generated by the recent political shifts.”

Everyone wants to know what is next in Cuba’s future. Perhaps artist duo Meira Marrero and José Toirac’s tarot card deck, bound in leather of 24 cards, titled Profile, will shed light. This work is charged with symbols inspired by the iconic interview that resulted in One Hundred Hours with Fidel, the infamous tell-all in the words of the Revolutionary himself, published in 2006.

In this exhibition, as art often manifests, humor and the realities of daily routine are intertwined. All of the artists in this show are influenced by current and recent political events: Douglas Perez’s painting,  December 17th in the White House, refers to President Obama’s announcing the restoration of a diplomatic relationship with Cuba, and we witness Michelle and Barack Obama dancing on a banquet table, dishes flying in celebration. Duvier del Dago, well known for his light and string drawings, positions a larger-than-life nude Cubana at a podium set in a futuristic public square, orating to a raucous and fictional crowd. María Magdalena Campos-Pons, revered for her sensual imagery, offers Unspeakable Sorrow, a ceremonial black-on-black portrait of despair, loss and abandonment, a howl, in which the flowering Amaryllis is the only trace of life or color.

Rachel Weingeist is a contemporary curator and cultural advisor who has curated over twenty-five Cuban exhibitions that range in theme and scale. Over the last five years, Weingeist built the largest private Cuban art collection to date and created the first contemporary Cuban video archive, which has traveled widely. She is a member of the Harvard Cuban Studies Advisory Board and actively participates internationally in cultural and political dialogue.

Image: Duvier del Dago, The Story Belongs to the One Telling It, 2014 Watercolor & Ink on Paper 28 x 39 inches







VOLTA/BASEL Video Showcase – Armando Marino

Armando Marino presented at VOLTA 9, Basel

The axis of Armando Mariño’s recent work flows from the ethical dilemma implied by aestheticizing or domesticating a violent event — from the moment it becomes “breaking news” and is then converted into art through painting. He appropriates images whose authorship and authority become less important and more “everyday”, to which the public has instance access to via the web or print media, and from these Mariño launches a new kind of neo-historicism.




Please join us for  the Solo presentation of Armando Marino at VOLTA NY

“Marino is a romantic painter—his nature has the seductive abundance often found in traditional romantic landscape painting, as Tree of Life, 2012 makes clear—but he is an ironical romanticist, one might say a disappointed romanticist, as The Revolutionary, 2013 strongly suggests”
Donald Kuspit. 

Armando Mariño is included in the current exhibition Fifteen Recent Acquisitions at Deutsche Bank Collection 60 Wall Street. He had two solo exhibitions in 2012 in New York City, Recent Paintings from the Year of the Protester  at The 8th Floor Gallery/ Rubin Foundation and  The Waste Land at 532 Gallery Thomas Jaeckel in Chelsea.
In 2011 Mariño was Artist in Residence at the Bronx Museum  and recipient of the Pollock-Krasner Grant.

Armando Marino at Architecture OMI








Cuban Art and Architecture at Architecture Omi

September 16, 2012 – May, 2013

Artists Reception: Sunday, September 16, 12 noon-3pm
* The artists will give a presentation on their work at 1:30 during the opening

Architecture Omi presents SKYLINE ADRIFT: Cuban Art and Architecture, a politically and aesthetic ground-breaking show of multi-disciplinary, site-specific installations by two Havana based architects and two internationally established Cuban artists. SKYLINE ADRIFT will be on view September 16, 2012 through May, 2013 at Omi International Arts Center in Ghent, New York. An artists reception will be open to the public on Sunday September 16th from 12 Noon to 3 PM.

SKYLINE ADRIFT is curated by Rachel Perera Weingeist, Advisor and Curator, The Shelley and Donald Rubin Private Collection and Peter Franck, Director, Architecture Omi, with Ricardo Porro, the seminal Cuban architect and educator who provided unparalleled access to the brightest young architectural talent in Havana.

SKYLINE ADRIFT presents large-scale architectonic installations by Cuban architects Yilena Lourdes Feitó Echarri and Yoandy Rizo Fiallo and internationally renowned Cuban visual artists Alexandre Arrechea and Armando Mariño Calzado. The two architects, who had never before left Cuba, were awarded a six-week residency at the Vermont Studio Center for creative development and production of their site-specific installations. They travelled to Omi early in the summer to survey the site for their installations, which will be transported and installed on the grounds of Architecture Omi in early September.

Artists Alexandre Arrechea and Armando Mariño Calzado are well known on the international arts scene. Mariño recently took up residence near Omi in Athens, New York. Arrechea splits his time between Madrid and Havana. They both participate in global art fairs and exhibit in elite museums and galleries around the world and will contribute sophisticated sculptural pieces to the exhibition.

SKYLINE ADRIFT reflects current Cuban creative sensibilities across a broad spectrum of sculpture, architecture and installation art. Although the artists and architects emerge from very different professional pressures, they share the centuries-old traditions in which Cuba’s visual arts are deeply rooted. In creating four site-specific works in the picturesque landscape of Omi International Art Center’s 300-acre campus in New York’s Hudson Valley they will confront the quintessential rural context of New England, far removed from the ecological, political and cultural praxis of Havana. According to Architecture Omi Director Peter Franck, “this exhibition will introduce the current state of architectonic discourse in Cuba to the world outside Havana.”

“We wanted to offer Cuban architects the same opportunity more commonly granted to painters, ballet dancers and musicians in their country.  This program is a great example of the power of international cultural exchange and we expect for it to have a ripple effect on Cuba’s architecture community upon their return” added Weingeist.

Reflecting on the project, Ricardo Porro remarked “in architecture, we always begin with the problem of function and add poetry to that function. For this project, the architects are being asked to respond poetically to the landscape without the restriction of function….I do believe that an architect should be a painter and a sculptor and this, in essence is what this show is asking these young architects to be.”

SKYLINE ADRIFT is made possible by the JM Kaplan Fund, The Shelley & Donald Rubin Foundation, Elise Jaffe + Jeffrey Brown, The Vermont Studio Center and Omi International Arts Center. Very special thanks to Francis Greenburger, Jon Gregg, Roxana González, María Elena Martín Zequeira, Alysa Nahmias, Mario’s Home Center (Valatie, NY), Ricardo Porro and Shelley and Donald Rubin.

Alexandre Arrechea sketch

Yoandy Rizo Fiallo

The Waste Land


Armando Marino

October 11 – November 7

532 Gallery  Thomas Jaeckel is pleased to present the Solo exhibition in New York of Armando Mariño, entitled The Waste Land.

This solo show features new oil on canvas paintings and works on paper. The title of the show refers immediately to the T.S Eliot poem, but the paintings that Marino shows are far from an illustration of it. In these paintings the artist recognizes the poem as a background to his work. “It helped me put together all the paintings,” he said. “The style of the poem overall is marked by hundreds of allusions and quotations from other texts, like my paintings.”

If the subject of his previous show was the mass protests, revolution, and tumult of last year, the artist is now more focused on the contradiction and friction between spirituality and the chaotic world we live in. The imagery in his paintings come from different sources: two Tibetan monks, a holy man from India, and a Western landscape in autumn are some of the images that serve as material for the new show.
Marino employs photos taken from magazines, web sites or books, which he crops, edits and transforms to create a new narrative or history that matches his interests. The result are large-scale paintings, colorful and intense, classic and obscure; “highbrow” and “low-brow” layered ad infintum, so that the viewer has to look closely to discover it all.
Marino is one of the most prominent Cuban artists from his generation. He has exhibited extensively in museums and galleries in Europe and USA.

In 2010 Marino moved to New York from Madrid for one year as part of the ISCP Brooklyn. That year he also participated in the exhibition Queloides: Race and Racism in Cuban Contemporary Art at the Mattress Factory Museum Pittsburgh.
Between 2010 and 2012, his work drew the attention of critics and curators in the U.S., prompting invitations to participate in exhibitions, such as El Museo del Barrio’s Biennial (S) Files (2011) and Building Identities: Contemporary Cuban Art from the Shelley and Donald Rubin Private Collection, presented in the Cleveland Clinic’s Art Program of the Arts & Medicine Institute. In addition to an Artist’s Studio residency at the Bronx Museum of the Arts (2011-12), Marino was awarded a The Pollock Krasner Grant that year.
Marino’s work is held by many private and public collections, such as The Donald and Shelley Rubin Collection, the Deutsche Bank Collection U.S., The Berardo Collection Portugal, The Farber Collection U.S., The Netherland Bank Holland, the National Museum of Fine Art Cuba, and The Coca Cola Foundation Spain, among others. Marino’s first solo show in New York, Recent Paintings From the Year of the Protester, took place in the nonprofit space The 8 Floor, with the support of the Rubin Foundation and The Bronx Museum of the Arts. This show prompted invitations to participate in Project V at the Hudson Valley Contemporary Art Center in Peekskill in 2012/2013, and Skyline Adrift Cuban Art and Architecture at Art Omi in Ghent, New York (September 2012-spring 2013).
The Waste Land is Marino’s first solo gallery show in New York City.



Armando Mariño

armando mariño

Armando Mariño, born 1968 in Cuba, lives and works in New York.  Mariño produces richly expressive paintings, sculptures, and installations that merge abstraction and representation, the everyday and the surreal, and nature and culture. Among his sculptures, for example, is a house upraised atop a forest of human legs. His paintings also feature fantastical imagery, including a girl sprouting mushrooms from her body. The colors in his paintings are hyper-bright, recalling the saturated hues of our digital culture. Decidedly of his time, Mariño often seeks the spark for his work online. As he has explained: “I just Google an image and save it until I’m ready to use it . . . It’s the way that the picture talks to you . . . but also . . . the way you can add something. There’s something else that comes only from the hands of the painter.”

Mariño was born in Santiago de Cuba in 1968, and currently lives and works in New York. His works are held in numerous public and private collections including: Deutsche Bank Collection, USA; 21C Museum Hotels, Kentucky; Coca Cola Foundation, Spain; and Shelley & Donald Rubin Collection, New York.


1980-1987 Escuela Provincial de Arte “Joaquín Tejada”. Santiago de Cuba.
1987-1992 Facultad de Educación Artística del Instituto Superior Pedagógico
“Enrique José Varona”. Havana. Cuba.
2004-2005 Rijksakademie van beldeende Kunsten. Amsterdam .Holland


Deutsche Bank Collection USA
Shelley and Donald Rubin Private Collection. New York. USA
Sarah and Darius Anderson Collection. California.USA
Howard Farber Collection. New York .USA
Centro Wifredo Lam. Havana. Cuba.
ART/OMI Residency. Nueva York. USA
ASU Art Museum: Arizona. USA
Colección Berardo Museo de Arte Moderna.. Sintra. Portugal
Museo Extremeño Iberamericano de Arte Contemporáneo. MEIAC.
Marcelino Botín Foundation.Spain
National Museum of Valjevo. Yugoslavia.
Espacio C. Camargo. Cantabria. Spain.
Diputación Provicial de Cadiz .Sala Rivadavia. Cadiz. Spain
Coca Cola Foundation.Spain
CEGAM.Centro Gallego de Arte Contemporaneo.Galicia .Spain
University of Virginia Art Museum. Virginia. USA
Rijskakademie van beeldende kunsten . Amsterdam. Holland.
Museo  Nacional de Bellas Artes. Havana . Cuba.
Stichting Oce Kunstbezitp. Venlo. Holland
De Nederlandshe Bank. Holland.
Arttoteek Den Hagg. Holland


1997 Segundo Premio I Salón Nacional de Arte contemporáneo Cubano.
1997 Castillo de la Fuerza y Palacio de Bellas Artes. Havana. Cuba.
1998 Mención de Honor XXXe. Festival International de la Peinture. Château-Musée Grimaldi. Cagnes sur Mer. Francia


2014 New Paintings after the long Winter. 532 Gallery Thomas Jaeckel New York NY. USA
2012 The Waste Land. 532 Gallery Thomas Jaeckel New York NY. USA
2012 Building Identities. Contemporary Cuban Art from the Shelly and Donald Rubin Private Collection. Cleveland Clinic’s Art Program Arts & Medicine Institute. OH USA
2012 Skyline Adrift. Cuban Art and Architecture. Art Omi Sculpture Field Park. New York. USA
2012  Recent Paintings from the Year of the Protester. 8th Floor Space. New York NY USA
2009  Drilling America. Pan American Art Projects. Miami. FL. USA
2007 Interiors. Fernando Pradilla Gallery. Madrid. Spain.
2007  Tervuern’s Tales . Grusenmeyer Art Gallery Deurle. Belgium.
2006 The Night inside of the painter’s house. Galerie Jean Brolly. Paris France
2006  Crash/Clash. Hof & Huyser Gallery. Ámsterdam  The Netherlands
2005 Recent Paintings. Fernando Pradilla Gallery. Madrid. Spain.
2005 Beautiful World. Project Room. Rijksakademie van Beeldende Kunsten. Ámsterdam.NL
2004  Paintings..Project Room East. Rijsakademie van beeldende kunsten. Amsterdam. NL
2003. Esteticamente correcto. Fernando Pradilla Gallery. Madrid. Spain.
2002 Con permiso de mi antropólogo. Galeria Ad Hoc. Vigo .Spain
2002 From my bathtub. Galeria RAY GUN. Valence. Spain.
2002 Arte en las Venas. Museo Cruz Herrera. La Linea de la Concepción. Cadiz. Spain.
2002. Arte en las Venas.Sala Rivadavia. Fundacion de la Diputacion Provincial de Cadiz. Spain
2001 “In utero”.Gary Nader Fine Art.Miami.USA.*
2001 La angustia de las influencias”. Galería Theredoom. Barcelona. Spain.
2001  Más Allá”. Museo Iberoamericano de Arte contemporáneo.(MEIAC)Badajoz. Spain.
2000  “Más Allá”. Centro Wilfredo Lam. Havana. Cuba.
1999 ROPA USADA. “Para los otros del tercer mundo”. Galería Ángel Romero. Madrid
1999  Recent Works. Gary Nader Fine Art. Miami. (USA)*
1998  Obra Reciente. Sala de Exposiciones Palacio de Abrantes. Salamanca.Spain
1997  Obra Reciente. Galería Ángel Romero. Madrid. Spain.
1996  “Nostra Nusquama”. Galería Espacio Estudio. Havana. Cuba.
1993  “Arqueología de la Simulación”. Centro de Arte 23 y 12. Havana. Cuba.
1993 “Des-Colon-izando el entorno”. Centro Wilfredo Lam. Havana. Cuba.


2014 Post Picasso. Contemporary Reactions.  Museo Picasso. Barcelona. Spain
2014 Without Mask. Contemporary Afro Cuban Art.The Von Christierson Collection/Wacht Hill Foundation .Museum of Anthropology of the University of British  Columbia. Vancouver .Canada
2013 Fifteen Recent Acquisitions from the Deutsche Bank Collection. USA
2013 Revolutionary Island:Tales of Cuban History and Culture. Sonoma Valley Museum of Art. California.USA
2013 Citizens of the World. Cuba in Queens.The Queen Museum. New York . USA2012 Building Identities. Contemporary Cuban Art from the Shelly and Donald Rubin Private
2012 Collection. Cleveland Clinic’s Art Program  Arts & Medicine Institute. OH USA
2011 Sinergias. Latin-American Art in Spain Macuf Contemporary Art Museum
2011 Union Fenosa. Coruna. Spain
2011 Open Studios ISCP .Brooklyn New York. USA
2011 Keloids. Race and Racism in the Cuban Contemporary Art.The 8th Floor.
2011 Shelly and Donald Rubin Foundation. New York. USA
2011 Buy what you love 2011.The Rema Hort Mann Foundation.
2011 Marianne Boesky Gallery. New York.
2011 The Museo’s Biennal (S) Files. Museo del Barrio. Rotunda Gallery Brooklyn, New York.
2010 Without Mask. Contemporary Afro-Cuban Art. Johannesburg Art Gallery. Johannesburg. South Africa.
2010 Cuban Avant-garde: Contemporary Cuban Art from the Farber Collection.
2010 Lowe Art   Museum. University of Miami. FL.USA
2010 Keloids. Centro Wifredo Lam. Havana. Cuba.
2010 Keloids. Mattress Factory. Pittsburg. USA
2010 Sinergias. Latin-American Art in Spain. MEIAC. Badajoz. Spain.
2010 Cuban Avant-garde: Contemporary Cuban Art from the Farber Collection.
2010 Katonah Art Museum. New York .USA.
2010 Open Studios ISCP .Brooklyn New York. USA
2009 Peregrinatio. Arte en las Ermitas de Sagunt. Sagunt. Valence. Spain.
2009 Cuban Avant-garde: Contemporary Cuban Art from the Farber Collection.
2009 The Winnipeg  Art Gallery. Winnipeg Canada.
2008 Deconstruct. Hof & Huyser Gallery. Amsterdam .Holland
2008 Cuban Avant-garde: Contemporary Cuban Art from the Farber Collection. Jordan
2008 Schnitzer Museum of Art. California. USA
2008 Visiones Publicas .Pasiones Privadas. Contemporary Art Museum of Vigo.Vigo. Spain
2008 Something and Something Else .Exhibition Oce Art Foundation in Museum Van Bommel. van Dam.Venlo Holland
2007 Cuban Avant-garde: Contemporary Cuban Art from the Farber Collection
2007 Harn Museum of Art, Florida USA
2007 Cuban Avant-garde: Contemporary Cuban Art from the Farber Collection
2007 Ringling Museum. Tampa Florida. USA
2007 Restos. Estudio Arteologico. Muestra tematica de la coleccion permanente.
2007 Contemporary Art Museum of  Puerto Rico. San Juan. Puerto Rico.
2006 New Acquisitions. CBK Ámsterdam.Holland
2006 Looking Back, Looking Black African-American, African, and Latino Images  from the
2006 Robert E. Holmes Collection.  The Kansas African-American Museum .Kansas USA.
2006 More than Meet the Eyes. Perspectives from The Robert E Holmes Collection California
2006 Africa-American Museum Los Angeles USA
2005 Contemporary Paintings of Latin-America. The DeVos Museum. Northern Michigan.
2005 Mi Cuerpo, Mi Pais. Cuban Art Today. U.V.A  Art Museum. University of Virginia.USA
2005 Open Ateliers. Rijskakademie van beeldende kunsten. Amsterdam. Holland.
2005 Berezdivin Collection. Espacio 1414 .Opening Exhibition. San Juan, Puerto Rico
2005 Winter Show. Hof & Huyser Gallery. Ámsterdam. Holland
2005 Young Painters. Grusenmeyer Art Galerie. Deurle. Belgium.
2005 New Paintings. Group show Hof & Huyser Gallery. Ámsterdam. Holland
2005 New adquisitions. The Nederlandsche Bank. Ámsterdam
2004 Inside/outside. Contemporary Cuban Art. Charlotte and Phillp Hanes Art Galllery. Wake
2004 Forest University. Florida.USA.
2004 Collective. Galeria METTA, Madrid .Spain.
2004 Open Ateliers. Rijskakademie van beeldende kunsten. Amsterdam. Holland.
2004 Affirming a Legacy. Art from Robert E. Holmes Collection H.C. Taylor Gallery of the
2004 Dudley Building. North Carolina .USA
2003  Centimetro a centimetro Fernado Pradilla Gallery. Madrid .Spain
2003 Catastrofe Minime. Museo de Nuoro. Cerdana.Italy.
2003 La Colección. Espacio Camargo. Cantabria. Spain.
2003 VIII Bienal de la Habana. La Cabaña.Havana .Cuba.
2002  Itinerarios.VII  Convocatoria Becas de Artes Plasticas Marcelino
2002 Botin. Marcelino Botin Foundation. Santander. Spain *
2002 Decada de los 90.The Berardo Modern Art Collection. Museo de Sintra, Portugal.
2002  Atravezados. Fundación Telefónica.MADRID.ESPAÑA*
2002 Show y Basura.Foro Sur. Caceres. Extremadura. Spain
2002 DerGlobalKomplex. OK. Centrum fur Gegenwartskunst. Linz. Austria.
2002 Premio L’Oreal de Arte Contemporáneo. XVIII Edition. Madrid
2002 Erased Border. Contemporary Fair. Project Room. Miami FL. USA
2000  The Young Ones. Gary Nader Fine Art. Miami. USA.
2000 Paraíso Cero. Eventa 5. Contemporary Art Biennial . Uppsala. Sweden.
1999  Internacional Exhibition. ART/OMI Residency. New York. USA.
1999 Heterotopias. Project rooms-Cambres d’art. INTERART 99’. Valence. Spain.
1998  Hidden Art of Revolution. Contemporary Cuban Art. Toronto. Ontario. Canada.
1998 “Caribe, exclusión, fragmentación y paraíso” M.E.A.C. (Museo Extremeño e
1998 Iberoamericano de Arte Contemporáneo. Badajoz. Spain.
1998 XXXe Festival internacional de la Peinture. Château-Musée Grimaldi. Cagnes sur Mer. France.
1997   Cuatro Artistas Cubanos”. Exposition Identification. Salle Allende. Université Libre de
1997 Bruxelles. Bruselas. Bélgium.
1997 VI Bienal de La Habana. Casona del Fondo Cubano de Bienes Culturales. Havana. Cuba.
1997 “Inside”. International Art Exhibition. Kassel. Germany.
1996   Río Almendrales. Ni fresa ni chocolate. CENCREM. Havana. Cuba.*
1996 Tercera Bienal de Pintura del Caribe. Museo de Arte Moderno. Santo Domingo.
1995   Primer Salón Nacional de Arte Contemporáneo Cubano. Castillo de la Fuerza y
1995 Palacio de Bellas Artes. Havana. Cuba.*
1994   “Los dados de medianoche”. Galería Espuela de Plata. Centro de Desarrollo de las.
1994 Artes Visuales. Havana. Cuba
1994 Salón Provincial de Dibujo de Ciudad de la Habana. Centro Provincial de Artes.
1994 Plásticas y Diseño. Havana. Cuba
1990   El Objeto esculturado”. Centro de Desarrollo de las Artes Visuales. Havana. Cuba.


2016 Watermill Center, Watermill, New York
2011 Artist Studio in Residency Bronx Museum
2011 Chashama Studios. Brooklyn. New York
2011 The Pollock–Krasner Foundation Grant. New York.
2010 The Christopher Reynolds Foundation. New York.
2010 Mattress Factory Residency Programs.
2010-11 ISCP. Brooklyn. NY.USA
2009 Raid Project. Los Angeles California.
2005 Dutch Ministry of Foreing Affairs, DCO/IC.
2004 Dutch Ministry of Foreing Affairs, DCO/IC.
2004-05 Rijksakademie van beeldende kunsten/Dutch Ministry of Education,Culture and Science.
2000 Fundación Marcelino Botín. España
1999 ART/OMI Residency. Nueva York. USA. July.


1996 La resurrección del símbolo. José Manuel Noceda. Palabras al catálogo de la exposición Des-Colon-izando el Entorno. C. Wilfredo Lam. La Habana. Cuba.
1997 Catálogo de la Sexta Bienal de La Habana. Lupe Álvarez. May-July. La Habana. Cuba.
1997 Fuga en espejo de Armando Mariño. Carino Pinos Santo. Revista Revolución y Cultura Nº2/97 año36. La Habana. Cuba.
1997 Art exhibit provides glimpse into Cuba. Christopher Hume. What’s on. Thursday, May 15. Toronto. Canadá.
1997 Textualidad y dialogismo en la pintura de Armando Mariño. Rufo Caballero. Revista Unión. La Habana. Cuba.
1999 Analyse d’une oeuvre”. Monique Mirabel, Valérie John, Mathilde Titina. Revista Arthéme Nº4. Septiembre. Martinica.
1999 Mariño, la modernidad y la jungla. José Marín-Medina. El Cultural. 26.12.99. El Mundo. Madrid. España.


Andanzas de un negro. Fernando Castro Flores. ABC Cultural. 8 de enero de 2000. Madrid. España.
El Caribe una identidad de diferencias. Santiago B. Olmo. Art Nexus Nº31. Enero/marzo. Miami. Colombia.
Armando Mariño”. Exposiciones. Santiago B. Olmo. Revista Lápiz, Nº 160. Año XIX. Madrid. España.
Marcel Duchamp a propósito del negro. Notas introductorias al objeto muerto de risa. Armando Mariño. Revista Cimal Arte Internacional Nº 52. 2000. España
El Negro (conceptual)de Armando Mariño. Denis Matos. Pagina
web.www.cubaencuentro.com. 8 marzo 20001
Armando Mariño. Galería Theredoom. Luis Francisco López. Revista Lápiz nº174. 2001.España
Change the Joke, Slip the Yoke. Franklin Sirmans. Catalogo de la exposición In útero. ”Galería Gary Nader Fine Art. Agosto.2001. Gary Nader EDITION.
Arte en las Venas. El artista o el extranjero.Una mirada que retorna. Javier Fuentes Feo.Catalogo de la Exposición Sala Rivadavia-Musep Cruz Herrera.Cadiz.Enero-Marzo.2002.España.
Armando Mariño.Parodist of the canon. Fernado Castro Flores. Catalogue.Der Global Komplex..OK.Centrum fur Gegenwartskunst.Linz Austria Jun-July.2002.
Armando Marino. Entrevista/Pintura.. Javier Diaz Guardiola. Blanco y Negro Cultural.El Cultural del MUNDO.11,Oct.2003.pag 27. Spain.
Inside/ outside. Contemporary Cuban Art. David Hart.
Exhibition catalogue. Wake Forest University. 2003.
Armando Marino. Review. Jose Jimenez. Artnexus.No.51 Volume 2003.
Octava Bienal de La Habana Bienal de La Habana.
Julia P Heizberg. Artnexus No 52,April 2004
The diffused diaspora. Dennys Matos. Magazine ARCO Contemporary Art. Number 30,winter 2003.Spain
Imagen y representacion. Dennys Matos. Exhibition catalogue. Arte y Naturaleza Centro de Arte.2004. Spain
Fighting spirit. Kay Hartenstein Saatchi. Art Review.Volume LIV. March 2004.
The Painting’s gesture. Ruben de la Nuez.Art Notes. International Art Magazine.12. 2006 Spain
Armando Marino. Abelardo Mena. Cuban Avant-garde: Contemporary Cuban Art from the Farber Collection. Samuel P Harm Museum Of Art, Florida. Gainesville Florida.2007
El que no tiene de Congo tiene de Carabali. Sara Cooper. Essay Published by the  STATE University of California Chico.2008.
Armando Marino, born manipulator. Fernando Castro Flores. Keloids. Catalogue Mattress Factory. Pittsburgh. USA 2010.