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Cuba Arte Contemporáneo, Galería Avistamientos | Contemporary Cuban Art, Avistamientos Gallery Cuba Arte Contemporáneo, Galería Avistamientos | Contemporary Cuban Art, Avistamientos Gallery
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Hander Lara

Hander Lara owns an essentially deconstructive artistic strategy. His initial motivation is the barely honest character of the nutritional truths of contemporary societies and the ambivalent sense of cultural values that hold that moral ideal standard. Thus, he is defined as a mistrustful, skeptical and cynical being. His route is every day more related to the path of cultural studies, specifically channeled to the lack of center of the constituent stories and myths of the overall idea of the social good, order and happiness.

His procedure is an utter simulation and he uses images of all kinds of, sometimes by travestying their symbolic attire, some others times, by weakening it, even overriding it. He applies a very refined dialect that finds is its first rule of basic organization in the displacement of cultural features. It is as if he would work on the intellective dimension that holds each symbol, putting aside its uniqueness, while exposing its cracks, in order to expose the programmed and artificial nature of civilized existence. He hosts the doubt in the body of the reason, in other words.

On the other hand, he is a delicate aesthetician who prioritizes the formal dimension of his work, while being aware of the needs of speaking in already common communicative terms to attract the attention of human reason. He uses previously manipulated photographs where he shows the glimpses of an installation practice that tends to decor; besides, painting is a declared sign of their empowerment and simulation as privileged formats.

His presence in the context of contemporary Cuban is part of the conceptualist tradition which holds Cuban artistic praxis and education since the nineties of the last century, as well as its redirection in concrete ways of poststructuralist analysis of the social entity in the historical present. But his election was not the orthodox practice of conceptualism, but the foundation of a Cuban version of pop art, which follows a local and international tradition, settled in very particular stratagems and tricks: his is a very fresh, sharp, and necessary look. The conclusions of his artistic trials are very particular, away from the ode to the sea and salt, sauce and stoicism. His images are decidedly apolitical, the future of this society is meant to be non-apologetic. Hander Lara is a sort of Cuban Warhol, an ill-fated wicked man.

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  • Specific and decisive moments of history are referred to by the iconic signs that are found in the works of art belonging to the acclaimed avant-garde series Don’t Play with History. Contemporary art has an apologist in Hander Lara: so is evidenced by the exhibition Don’t Play with History.
  • Hander Lara’s pictorial series Don’t Play with History may truly be called a masterpiece of contemporary art.
  • El artista emplea el diseño gráfico para invocar en cada pieza una síntesis expresiva que recuerda al conceptualismo y minimalismo norteamericano.
  • La obra de Lara es primeramente un ejercicio de condensación visual.
  • Hander Lara emplea el diseño gráfico para invocar en cada pieza una síntesis expresiva que recuerda al conceptualismo y minimalismo norteamericano. Alude, sugiere, recuerda, incluso, perturba. Don’t Play with History, desde la sutil superficialidad de su estructura, es una caja de pandora esperando a ser abierta. Esta muestra, en su totalidad, es el ensayo de un micro sensorium en el que las referencias culturales se hilvanan tejiendo una nube de vapor de la cual es imposible asirse. Genera, consecuentemente, inestabilidad sensitiva, racionalizadora, incluso, cognoscitiva; representa las formas en las que el hombre se apropia del mundo y lo recrea. Y escoge la historia como motivo metonímico que representa legado, símbolo en sí mismo, futuro y pasado, creación, ubicuidad, humanidad, cultura. Dios erigió al hombre y le regaló, no ya los años, sino la memoria de los años; le entregó, no la Tierra, ni siquiera su control, sino la sensación abrumadora de poseerla.
  • As a political propagandist, or advertising creator?, Hander Lara creates the slogan that provides the exhibition with a title, and he represents it in a number of canvas by employing diverse typographical styles and designs, all of them institutionalized and with high levels of iconicity.
  • The omissions, simplifications, and coverings produced in the discourse of history are some of the topics Hander Lara tangentially deals with in his acclaimed exhibit Don’t Play with History.
  • This memorable exhibit, as a whole, is the rehearsal of a micro sensorium in which cultural references are intertwined weaving a steam cloud that is impossible to seize. Consequently, it generates sensitive, rationalizing, and even cognitive instability; it represents the forms in which men has appropriated and recreated the world.
  • Arte Contemporáneo
  • Hander Lara is one of the most exceptional young contemporary Cuban artists. His artistic production covers a wide field of expression, from photography, video, drawing, collage, and painting to sculpture.
  • A visual strong attraction is provided by the contemporary visual artist Hander Lara to the pop ads of his acclaimed pictorial series: Don’t Play with History.
  • Young artist Hander Lara establishes a game with the aesthetic codes of graphic design in his series Don’t Play with History.
  • The Cuban creator manages to contain the spirit of diverse periods of universal history by means of the appropriation of the visual features and typographies of each of them.
  • Contemporary artist Hander Lara employs diverse typographic fonts in his multicultural artwork Don’t Play with History.
  • Omissions, simplifications, and covering ups that are produced in the speech of history are some of the topics dealt incidentally by Hander Lara in his avant-garde series: Don’t Play with History.
  • Colores, formas, fuentes tipográficas, diseños de determinados épocas son citados en las pinturas de Hander Lara, en su exposición personal Don’t Play with History.
  • La actitud de Lara aparentemente es iconoclasta pues descentra la primacía de la imagen y coloca en su lugar a la palabra escrita. Este gesto retórico no es subversivo pues Lara no cuestiona la validez del proceso imaginario en la construcción de la cultura occidental, al contrario.
  • Contemporary art has an apologist in Hander Lara: so is evidenced by the exhibition Don’t Play with History. Colors, forms, typographic fonts, designs of specific periods, are all quoted by Hander Lara’s paintings in this series, which constitutes an allusion and a questioning to the boom and decline moments.
  • Young artist Hander Lara establishes a game with the aesthetic codes of graphic design in his series Don’t Play with History.
  • Contemporary art has an apologist in Hander Lara: so is evidenced by the exhibition Don’t Play with History.
  • La cultura maya, azteca e inca se vislumbra en cada fotografía del artista cubano contemporáneo Hander Lara.
  • La cultura prehispanica renace, se reedita en el la galería habanera de arte contemporáneo, un espacio con una historia actualizada.
  • Los vestigios de las antiguas civilizaciones precolombinas se resvitalizan en las fotografías del artista cubano contemporáneo.
  • La cultura prehispánica sobreviene actualidad, se reedita a través de la mirada del propio sujeto americano.
  • La tradición prehispanica, cargada de mitos, fábulaciones y leyendes encuentra un espacio propicio en las fotografías del novel creador Hander Lara.
  • La historia precolombina, contada desde el poder es narrada esta vez desde el espacio en el que se origina.
  • Las imágenes surrealistas edificadas por Hander Lara en sus fotografías de paisajes, simulan realidades existentes conocidas desde el terreno de lo virtual.
  • Hander Lara symbolically nullifies the geometric perfection of the neoplasticism expressed in Piet Mondrian’s works of art in his latest collection entitled Art in Theory.
  • Lately, Hander Lara’s art underwent an enormous change; his acclaimed series Art in Theory exhibited in the 12th Havana Biennial was an example of that.
  • Hander Lara makes clear the appropriateness of one look totally different and devoid of prejudice when becoming art in his Art in Theory exhibit carried out in the Morro-Cabaña Complex as collateral at the 12th Havana Biennial.
  • In his latest exhibit entitled Art in Theory, carried out at the 12th Havana Biennial, Hander Lara highlights the shortcomings, omissions, and strategies when legitimizing the history of art according to the paradigms of the modern age.
  • Of course, as ever with the Havana Biennial, the collateral exhibitions contain more cracking works than the official exhibitions.
  • In an unpredictable manner Hander Lara makes clear the appropriateness of one look totally different and devoid of prejudice when becoming art in his new series Art in Theory.
  • El creador cubano Hander Lara apuesta por un nuevo concepto del paisaje desde el lente fotográfico, en su serie Land-Escapes.
  • La sensación del
  • En su serie Land-Escapes el joven creador cubano Hander Lara propone un juego entre los conceptos de realidad y ficción.
  • En su serie fotográfica intervenida digitalmente, Land-Escapes, Hander Lara continúa apoyándose del texto en la imagen como portador de sus ideas y meditaciones.
  • Una noche antártica, cabañas de madera en verdes montañas, pastos arados, bosques y olas gigantescas son algunos de los lugares soñados y desconocidos que despiertan los deseos por la fuga en el espectador de Land-Escapes.
  • Con las obras de la serie Land-Escapes el artista visual Hander Lara conjuga de manera armoniosa objetos materiales en una visión de la naturaleza.
  • Lately, Hander Lara’s art underwent an enormous change; Art in Theory, his last exhibit shed new light on the prodigiously far-reaching talents of this Cuban artist.
  • El joven artista Hander Lara aporta al arte cubano contemporáneo una novedosa y seductora interpretación del género paisajístico, en su serie Land-Escapes.
  • El creador contemporáneo Hander Lara aporta al arte cubano contemporáneo una novedosa y seductora interpretación del género paisajístico, en su aclamada serie Land-Escapes.
  • La libertad de nuestras mentes e imaginación es lo que nos permite soñar mas allá de los límites de las circunstancias que nos rodean, parece decirnos el creador Hander Lara desde los lejanos lugares de su serie Land-Escapes.
  • A través del procedimiento de la introspección el joven creador Hander Lara se adentra en su mundo interior para cavilar sobre cuestiones y problemáticas del ser, de su existencia, circunstancias, deseos, emociones y esperanzas.
  • Con gran sutileza el artista conceptual cubano Hander Lara construye sus escenas surrealistas; objetos comunes son vaciados de su significado habitual para crear simulacros de realidades, en su serie Land-Escapes.
  • Novedosa y seductora interpretación del género paisajístico es resuelta por Hander Lara en su serie Land-Escapes; un gran aporte a la fotografía contemporánea cubana.
  • En su serie Land-Escapes el joven creador cubano Hander Lara propone un juego entre los conceptos de realidad y ficción.
  • El creador contemporáneo Hander Lara desconcierta al público con una propuesta artística tridimensional fuera de lo común.
  • Hander Lara pone en tensión la supuesta inalterable unidad entre forma y contenido, entre significante y significado, legitimados en el canon occidental.
  • La añoranza por el viaje y por lo desconocido son algunos de los tópicos que evoca Hander Lara en su seductora pieza Reading the Horizon.
  • Don’t Play with History: this is the committed sentence of outstanding contemporary artist Hander Lara in his new exhibit.
  • Contemporary visual artist Hander Lara employs diverse typographic fonts in his multicultural work in progress Don’t Play with History.
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