Gerardo Mosquera

In the 1980s this movement renovated the Cuban art scene, breaking away from official dogmatism and introducing contemporary critical tendencies.

on a general theme, the combination of a centralized curation that avoided national representations with a decentralized structure involving a constellation of multiple events, the link with the city, and the eradication of awards.

[9] The Havana Biennial approached for the first time the multiple practices of contemporary art around the world, out of the Western mainstream.

[12] After his resignation to the Havana Biennial, Mosquera was banned to publish, curate and lecture in his country until today, and since then he has been working as a freelance internationally.

[13] From 1995 to 2009 he was adjunct Curator at the New Museum of Contemporary Art, New York, although his work was seriously hampered by legal constraints due to the United States embargo against Cuba, where he continued to live.

Together with Dan Cameron he set off a program at the Museum that introduced a broader international approach in the New York art scene.

[16] He has also contributed to promote an open, multifaceted view on Latin American art, moving away from the identity stereotypes that prevailed in the 1980s[17] – his standings being sometimes polemical.

Mosquera’s ideas, position and curatorial and editorial practice have been significant in the new scenario of broad international circulation of art.

[19][20] He introduced the notion of "from here" to oppose the “appropriation” paradigms – such as the Brazilian idea of “anthropophagy” – that prevailed to discuss postcolonial art’s strategies, conferring it an active role in the construction of global metaculture.

[21] The curator's work has lately focused on projects out of the white cube, trying to achieve artistic communication with broader audiences, beyond the art world’s elite.

[22] Some examples are his contribution to the Liverpool Biennial, and shows that have tried to create an active dialogue with the public space and to involve people in the streets, as CiudadMultipleCity.

Hoy fue también un día soleado Archived 2017-09-24 at the Wayback Machine, Sala de Arte Público Siqueiros, Mexico City, June 7, 2016.

Un photographe aux aguets, Jeu de Paume, Paris, October 15, 2012; Fundación MAPFRE, Madrid, February 12, 2013; Museo Amparo, Puebla, June 2013 (with Laura González Flores).