Moisés Finalé

La salida (Diptych), 2016

Mixed media on canvas, 231 x 556 cm.


  • Colosal e irreverente, Levitación es una muestra más de lo más audaz y renovador del arte cubano contemporáneo.
  • Renovación, insurgencia y prodigalidad caracterizan la más reciente exhibición de uno de los autores más importantes del panorama visual en la Isla.
  • Siempre, una nueva exhibición del destacado pintor cubano Moisés Finalé nos trae sorpresas, alientos que encienden la imaginación y nos llevan a cruzar fronteras hacia un arte en plena ebullición.
  • Contraponiendo técnicas, materias, formas, trazos y tonalidades la pintura de Finalé alcanza una textura visual de alto calibre que es co-protagonista de estas historias donde no faltan referencias etnográficas, antropológicas mezcladas con experiencias muy íntimas.
  • Moisés Finalé comes from the discourse he has created in time, as his work never relinquishes the enjoyment of the experimentation of new resources and unconventional means.
  • A mediados de los años ochenta Moisés Finalé comenzó a pintar en la vertiente de la elucidación de las raíces, de la búsqueda de la identidad. Su trabajo pertenece a la pintura en toda la materialidad de su historia, ahí donde el cuerpo se constituye como primer sujeto de un lenguaje visual autónomo cuya finalidad es la de cuestionar el balance incesante entre presencia y ausencia que nutre al ser durante el tiempo que le da forma.
  • Fine contemporary and modern art

This picture is one of the many canvasses that Finalé painted for the acclaimed exhibit Levitación (Levitation) presented at the gallery hall Orígenes of Gran Teatro de La Habana (Grand Theater of Havana) in the autumn of 2016.

[…] And the fact is that this new Moses leads to an unknown promised land, to a legion of dancing divinities that –in endless parade– carry offerings, throw banners… gods of an Olympus found by Alejo Carpentier in the exuberant islands of the Caribbean and by Wifredo Lam in the invisible character of the chair or in the feverish green of the jungle.

Led by his dream and without intending it, the artist glimpsed the road, his own, leaving us his face at times –drawn or sculpted–; muting his Helenic features by the one of these dark priests and celebrants, as old as history itself. However, they are symbols of an unfinished modernity in the Art Déco designs, in their iridescent bronzes or in the jewels that the Paris or Broadway dancers showed in their voluptuous bodies in times of Cléo de Meróde, Emilienne D’Alençon or the Belle Otero.

The truth is that the Maestro grew in grace and wisdom. And, as a memory of his transit –in his painting– he leaves us a portrait of his soul and of refinement of an art expression in which novelty, tradition, beauty and elegance, exquisiteness of the stroke and of the inspiration that motivates it come together, in silent harmony. 1

 

1. Eusebio Leal Spengler, Herido de sombras (Catalogue, Havana: National Fine Arts Museum, 2003).