Agustín Cárdenas - A Solo Exhibition Catalogue Ex.2

AGUSTÍN CÁRDENAS

Bill Hodges Gallery

Right:

Untitled, 1964

Carrara Marble

27 ½ x 16 ½ x 7 ½ in.

(69.9 x 41.9 x 19.1 cm)

Front Cover:

La dompteuse, 1972

Carraran Paonazzo Marble

27 ⅛ x 34 ⅞ x 18 ⅛ in.

(69 x 88.6 x 46 cm)

Agustín Cárdenas

(1927 - 2001)

Agustín Cárdenas (Alfonzo) was born on April 10, 1927 in Matanzas, Cuba. The son of a tailor and the descendant of slaves from Congo and Senegal, Cárdenas pursued art from a young age. In 1943, at the age of 16 Cárdenas moved from his home in Matanzas, a former major port city in the slave and sugar trade, to the bustling capital city, Havana. In Havana, he attended the Escuela Nacional de Bellas Artes “San Alejandro” studying under the master sculptor Juan José Sicre, renowned for his monumental marble sculptures. For the next six years Cárdenas would begin to hone his craft and familiarize himself with the mediums he would later master. Post-graduation, Cárdenas involved himself with various art groups most notably Los Once (The Eleven), comprised of painters and sculptors who rejected conventional art practices and exposed Cárdenas to more experimental art methodologies. Cárdenas’s involvement in the Havana art scene led to his inclusion in the group exhibition “Plastica Cubana Contemporanea” at the Lyceum, a prominent cultural center in Havana, in 1954, and his first solo exhibition “Exposición Agustín Cárdenas: 20 Esculturas” in 1955 at Palacio de Bellas Artes.

A burgeoning interest in more avant-garde art methods led him to migrate to Paris in 1955 where he found camaraderie with famed French writer and poet André Breton and surrealist artists Constantin Brancusi, and Salvador Dali. During this time, Cárdenas began incorporating elements from the West African Dogon tradition into his art, creating wooden totems with elongated abstracted forms, a practice he would continue throughout his career. In May of 1956, as Cárdenas settled in the Montparnasse neighborhood of Paris, André Breton’s prominent gallery, l’Étoile Scellée, invited him to exhibit alongside fellow Cuban artist Fayad Jamís. Before closing in June of the same year, l’Étoile Scellée welcomed the likes of Max Ernst, Man Ray, and Meret Oppenheim, cementing a 29 year old Cárdenas among some of the most renowned contemporary artists of the 20th century. For the next few years he continued to exhibit his sculptures around Paris in both group shows and solo exhibitions, and in 1961, participated in the Paris Biennale, winning first prize in sculpture.

While finding success in the Paris art scene, in 1962 Cárdenas married a Latvian and Italian multilingual interpreter named Elena Ianotta, whom he met two years prior. In the same year, their first son Arlen was born, followed by Solano, Timour, André, and Fernando. In 1968 he moved his family from the center of Paris to the southwestern suburb Meudon, establishing a studio there and a second in Nogent-sur-Marne, a eastern suburb. Cárdenas frequented Carrara, the Italian town well known for its quarries of highly sought-after white and blue grey marble, which he regularly used as the medium for his sculptures. Along with Carrara marble he continued to sculpt in wood and bronze, employing elegant curves and elongated silhouettes to skillfully communicate both physical and metaphysical forms and ideas. Additionally, numerous works on paper were created, many existing as studies for later sculptural works and containing two-dimensional examples of the same themes.

After decades living in France, in 1994 Cárdenas fell ill and returned to Havana, Cuba where he remained until his death in 2001. Agustín Cárdenas is buried in the Montparnasse cemetery in Paris and is survived by his sons. During his lifetime he was celebrated for his contributions to the global art community receiving the William and Noma Copley Foundation Award for visual arts in 1964 and 1995 the Cuban National Fine Arts Award, alongside sculptor Rita Longa. Throughout his career he traveled extensively and from 1956 to 1997 he participated in approximately 100 group exhibitions and 34 solo exhibitions located around the world. Cárdenas’s commissions and exhibitions took him to Canada, Austria, Japan, Israel, South Korea, Germany, The United States, and Italy. His works are also in the permanent collections of many prestigious institutions globally, including The Metropolitan Museum of Art in New York, Centre Pompidou in Paris, and Museo Nacional de Bellas Artes de Cuba.

In this solo exhibition we highlight sculptures and works on paper spanning Cárdenas’s decades-long career. These works fluidly express a visceral and boldly sensual allure which beckons the viewer to look closer. The sculptures La dompteuse (The Tamer) (1972) and Vertical Form (1983) utilize delicate structure and elongated forms to connote the presence of bones, tendons, and other organic matter where only simplified abstraction exists. In many of these works negative space plays a significant role, allowing light and air to flow freely. For example, the composition of Untitled (1964) evokes the appearance of a door, framing the space behind it and interacting with the light that flows through. This sculpture’s smooth, lustrous surfaces serve to accentuate the characteristic grace of Cárdenas’ forms. Forme Allongée (Elongated Form) (1991) exemplifies this elegance, appearing akin to a reclining figure whoese thin, sloping, multifaceted form catches the light and gently reflects it.

Juxtaposed with these sculptures, the works on paper provide insight into Cárdenas’ art practice as he explores form in three dimensions. These biomorphic studies reveal a thoroughly researched process of envisioning forms in space while moving from two dimensions to three, illuminating the challenges inherent in this process. While sculptures require the practical ability to support their own weight, works on paper are not subject to these same limitations, allowing more freedom for theoretical exploration.

The studies also reveal edges that are obscured in a three-dimensional work but can exist in fine detail in the two-dimensional. For example, in untitled works from 1956 and 1957, by alternating line weights, Cárdenas denotes the overlapping three-dimensional positioning of organic forms. Some drawings are depicted with shadow and depth while others present forms which are utterly flat and directly intersecting. In Untitled (1973), Cárdenas discards the illustration of light and shadow, instead presenting the sculptural elements as a set of purely flat, white surfaces. By loosely tracing delineated lines indicating concave and convex points, viewers can easily imagine a circular formation. These works on paper function as examples of how Cárdenas develops spatial relationships within his sculptures, allowing the viewer to imagine how material might curve and fold in the process of materializing devised form.

While some of the rich and organic elements present in his work are notably consistent with those present in the works of his Surrealist contemporaries, Cárdenas is able to create an overall product that is fully unique. These forms are not bound by traditional formal rules, and Cárdenas finds freedom in breaking with these conventions - the works on view here challenge distinctions between abstraction and figuration, commanding interest and attention both as abstract forms and organic figures.

Provenance

Private Collection, Monaco

Galerie Retelet, Monaco

Bill Hodges Gallery

Exhibition History

Agustin Cardenas, 7 September – 3 November 2018, Galerie Mitterrand, Paris, FR

Literature

Galerie de France et du Benelux. Cardenas, Brussels. pp. 24, 34

La Connaissance. La Sculpture de Cardenas, Brussels, 1971. pp. 95, 122

Galerie Mitterrand. Agustin Cardenas, Paris, FR, 2018. pp. Cover, Inside Front Cover, 5, 9, 10, 13

Le Point Cardinal. Cárdenas, Paris, FR, 1973, p. 13

La dompteuse, 1972

Carraran Paonazzo Marble

27 ⅛ x 34 ⅞ x 18 ⅛ in. (69 x 88.6 x 46 cm)

Study of a Sculpture, 1968

½ x 19 ⅝ in. (64.8 x 49.8 cm)

Signed and Dated, Lower Left

Graphite on Paper

25

Untitled, 1964

Signed and Dated, Back

Carrara Marble

27 ½ x 16 ½ x 7 ½ in. (69.9 x 41.9 x 19.1 cm)

Provenance

The Artist

Paul Haim, 1964 (Acquired Directly from the Artist)

Thence by Descent Private Collection, 2020

Bill Hodges Gallery

(Larger Version Appears in the Following)

Galerie, Cárdenas, Paris, France, 2003, illus.

JGM Galerie, Le Monde Legendaire de Cárdenas, Paris, France, 2012, illus. pp. 54, 96

Forme Allongée, 1991 Carrara Marble

7 x 14 x 7 in.

(17.8 x 35.6 x 17.8 cm)

Signed on the Back

Provenance

Private Collection

Bill Hodges Gallery

Literature

JGM

17 ¾ x 11 x 9 in. (45.1 x 27.9 x 22.9 cm)

Base: 3 x 11 x 11 in. (7.6 x 27.9 x 27.9 cm)

Total: 20 ¾ x 11 x 11 in. (52.7 x 27.9 x 27.9 cm)

Signed and Dated on the Back

Le Cygne, 1992

Carrara Marble on Black Marble Base

from the Collection, Bill

New York, 15 April – 29 May 2021

9 September - 5 November 2021

Private Collection

Bill Hodges Gallery

Exhibition History

Selections

Hodges Gallery,

Wifredo Lam + Agustín Cárdenas, Bill Hodges Gallery, New York,

Bill Hodges Gallery, Wifredo Lam + Agustín Cárdenas, New York, 2021, p. 27

Signed and Dated, Back

Forma III, 1967

Carrara Marble

16 ½ x 11 ¼ x 11 in. (41.9 x 28.6 x 27.9 cm)

Provenance

The Artist

Private Collection

Private Collection, 1989

Bill Hodges Gallery

Vertical Form, 1983

Cast Bronze with Black Patina on Marble Base

Edition of 8

15 ⅞ x 3 ½ x 3 ½ in. (40.3 x 8.9 x 8.9 cm)

Signed and Numbered, Bottom Left

Stamped, Front

Provenance

Private Collection, Paris

Bill Hodges Gallery

Exhibition History

Cárdenas, Galerie Trigano, Paris, 10 March - 10 April 1999

Wifredo Lam + Agustín Cárdenas, Bill Hodges Gallery, New York, 9 September - 5 November 2021

Literature

Bill Hodges Gallery, Wifredo Lam + Agustín Cárdenas, New York, 2021, p. 32

Please note: this work is misdated 1956 in Wifredo Lam + Agustín Cárdenas

Untitled, 1980

Gouache, India Ink, Collage and Graphite on Handmade Paper

26 ⅛ x 19 ¼ in. (66.8 x 48.9 cm)

Signed and Dated, Lower Right

Provenance

Private Collection, Paris

Bill Hodges Gallery

Exhibition History

Paper, Bill Hodges Gallery, New York, 22 October 2020 - 29 January 2021

Wifredo Lam + Agustín Cárdenas, Bill Hodges Gallery, New York, 9 September - 5 November 2021

Literature

Bill Hodges Gallery, Wifredo Lam + Agustín Cárdenas, New York, 2021, p. 27

Untitled, 1973

Felt-Tip Pen on Paper

13 x 9 ½ in. (33 x 24.1 cm)

Signed and Dated, Lower Right

Provenance

F. Zbona, Slovenia

Private Collection, Paris

Bill Hodges Gallery

Exhibition History

Wifredo Lam + Agustín Cárdenas, Bill Hodges Gallery, New York, 9 September - 5 November 2021

Literature

Bill Hodges Gallery, Wifredo Lam + Agustín Cárdenas, New York, 2021, p. 38

Untitled

Ink Wash on Paper

31 x 22 ½ in. (78.7 x 57.2 cm)

Signed, Lower Right

Provenance

Private Collection, Brussels

Bill Hodges Gallery

Exhibition History

Wifredo Lam + Agustín Cárdenas, Bill Hodges Gallery, New York, 9 September - 5 November 2021 Literature

Bill Hodges Gallery, Wifredo Lam + Agustín Cárdenas, New York, 2021, p. 31

Untitled, 1972

Signed, Lower Right

Provenance

India Ink and Ink Wash on Handmade Paper

19 ⅜ x 25 ⅜ in. (49.2 x 64.5 cm)

Private Collection

Bill Hodges Gallery

Signed and Dated, Lower Right

Exhibition History

5 November 2021

Literature

Untitled, 1980

India Ink and Ink Wash on Handmade Paper

9 ½ x 12 ⅜ in. (24.1 x 31.4 cm)

Provenance

Private Collection, Paris Bill Hodges Gallery

Wifredo Lam + Agustín Cárdenas, Bill Hodges Gallery, New York, 9 September -

Bill Hodges Gallery, Wifredo Lam + Agustín Cárdenas, New York, 2021, p. 39

Untitled, ca. 1960

Watercolor and Ink on Handmade Paper

12 ¾ x 9 ½ in. (32.4 x 24.1 cm)

Signed, Lower Center

Provenance

Private Collection, Paris

Private Collection

Bill Hodges Gallery

Exhibition History

Wifredo Lam + Agustín Cárdenas, Bill Hodges Gallery, New York, 9 September - 5 November 2021

Literature

Bill Hodges Gallery, Wifredo Lam + Agustín Cárdenas, New York, 2021, p. 36

Untitled, ca. 1960

Gouache and Graphite on Paper

12 ½ x 9 ⅛ in. (31.8 x 23.2 cm)

Signed and Dated, Lower Center

Provenance

Private Collection, Paris Private Collection

Bill Hodges Gallery

Exhibition History

9 September - 5 November 2021

Literature

p. 37

Wifredo Lam + Agustín Cárdenas, Bill Hodges Gallery, New York,

Bill Hodges Gallery, Wifredo Lam + Agustín Cárdenas, New York, 2021,

Sculpture Project, 1978

India Ink and Colored Pencil on Paper

12 ½ x 9 ¼ in. (31.8 x 23.5 cm)

Signed and Dated, Lower Right

Provenance

Private Collection, Paris

Bill Hodges Gallery

Exhibition History

Wifredo Lam + Agustín Cárdenas, Bill Hodges Gallery, New York, 9 September - 5 November 2021

Literature

Bill Hodges Gallery, Wifredo Lam + Agustín Cárdenas, New York, 2021, p. 40

Untitled, ca. 1960

Charcoal on Paper

25 ¾ x 19 ⅞ in. (65.4 x 50.5 cm)

Signed, Lower Center

Provenance Private Collection, Paris Private Collection

Bill Hodges Gallery

Exhibition History

Wifredo Lam + Agustín Cárdenas, Bill Hodges Gallery, New York, 9 September - 5 November 2021

Literature

Bill Hodges Gallery, Wifredo Lam + Agustín Cárdenas, New York, 2021, p. 35

Composition, 1956

Ballpoint Pen on Paper

8 ⅛ x 5 ¼ in. (20.6 x 13.3 cm)

Signed and Dated, Lower Center

Provenance

Private Collection, Paris

Bill Hodges Gallery

Exhibition History

Wifredo Lam + Agustín Cárdenas, Bill Hodges Gallery, New York, 9 September - 5 November 2021

Literature

Bill Hodges Gallery, Wifredo Lam + Agustín Cárdenas, New York, 2021, p. 42

Literature

Untitled, 1957 Colored Pencil on Paper

8 ¼ x 5 ¼ in. (21 x 13.3 cm)

Signed and Dated, Lower Right

Provenance

F. Zbona, Slovenia Private Collection, Paris Bill Hodges Gallery

Exhibition History

Wifredo Lam + Agustín Cárdenas, Bill Hodges Gallery, New York, 9 September - 5 November 2021

Bill Hodges Gallery, Wifredo Lam + Agustín Cárdenas, New York, 2021, p. 42

Untitled

Graphite and Ink on Tracing Paper

12 ⅝ x 8 ⅜ in. (32.1 x 21.3 cm)

Signed, Lower Center

Provenance

The Artist

Thence by Descent

Bill Hodges Gallery

Exhibition History

Wifredo Lam + Agustín Cárdenas, Bill Hodges Gallery, New York, 9 September - 5 November 2021

Literature

Bill Hodges Gallery, Wifredo Lam + Agustín Cárdenas, New York, 2021, p. 41

Untitled, 1975

India Ink on Handmade Paper

25 ½ x 19 in. (64.8 x 48.3 cm)

Signed and Dated, Lower Right

Provenance

Private Collection

Bill Hodges Gallery

Exhibition History

Wifredo Lam + Agustín Cárdenas, Bill Hodges Gallery, New York, 9 September - 5 November 2021

Literature

Bill Hodges Gallery, Wifredo Lam + Agustín Cárdenas, New York, 2021, p. 34

Art Public Montreal, Canada

Centre Pompidou, Paris

de la Cruz Collection, Miami

Hakone Open-Air Museum, Japan

Modern Art Museum, Tel Aviv

Musée d’Art et d’Industrie, Saint-Étienne, France

Musée d’Art Moderne, Paris

Musée National d’Art Moderne, Paris

Museo d’Arte Moderno, Caracas

Museo d’Arte Moderna, Rome

Museo Nacional de Bellas Artes de Cuba, Havana

Metropolitan Museum of Art, New York

Museum of Contemporary Art of the Americas, Miami

Nader Museum, Miami

National Gallery of Art, Washington DC

Passy Commune Collection, France

University of Miami, Lowe Art Museum, Florida

University of Pennsylvania, Philadelphia

Washington County Museum of Fine Arts, Maryland

Weatherspoon Art Museum, North Carolina

1955

Havana, Cuba Palacio de Bellas Artes

1959

Paris, Galerie de la Cour d'Ingres (presented by André Breton)

1961

Paris, Galerie du Dragon

1962

Chicago, Richard Feigen Gallery

Milano, Galleria Schwarz

1965

Paris, Galerie du Dragon

1968

Bruxelles, Galerie Arcanes

1969

Torino, Galleria La Bussola 1971

Bergamo, Galleria Lorenzelli

Paris, Galerie Boulakia

1972

Paris, Museé Galliera

1973

Paris, Le Point Cardinal 1974

Bruxelles, Galerie de France et du Benelux

1975

Paris, Le Point Cardinal

Genève, Galerie Jacques Benador Montbelliard, Maison des Arts et Loisirs

1977

Bruxelles, Galerie de France et du Benelux 1979

Paris, Le Point Cardinal 1980

Tokyo, Fuji Television Gallery

Madrid, Barcelona, Barcelona, Galeria Théo Paris, FIAC

1981

Paris, Le Point Cardinal

Paris, Fondation Nationale des Arts Graphiques et Plastiquess

Solo Exhibition

1982

Madrid, Barcelona, Galeria Théo

Caracas, Museo de Bellas Artes 1984

Paris, FIAC

1987

Seul, Galerie de Corée

1988

Paris, Galerie J.G.M

1990

Paris, Galerie J.G.M

Chicago, International Gallery, Invitational one man show.

Caracas, Galerie Dúrbán

1991

Miami, International Art Exhibition

Tokyo, Art exhibition 1992

Caracas, Galerie Dúrbán

Paris, Galerie J.G.M

Paris, Le Point Cardinal

Paris, Galerie de l'Echaudé

Genève, Galerie du Chateau 1993

Havana, Museo Nacional de Bellas Artes de la Habana 1997

Milano, Galleria delle Steline, Gruppo Credito Valtellinese, "Retrospettiva"

Paris, Couvents des Cordeliers, Mairie de Paris, “Retrospective“ 1998

Biarritz, Festival International de Biarritz 1999

Coral Gables, Gary Nader Fine Arts 2002

Paris, Galerie Vallois

New York, Haim Chanin Fine Arts 2012

Biron, Galerie Mitterrand 2018

Paris, Galerie Mitterrand

London, Almine Rech Gallery 2021

Paris, Maison de L’amerique Latine, “Agustin Cardenas: Mon Ombre Apres Minuit”

Group Exhibition

1954

Havana, Cuba, Lyceum Center, "Plastica cubana contemporanea"

1956

Paris, Galerie L'Etoile Scellée (André Breton)

Paris, Galerie Suzanne de Conninck, "Hommage de la sculpture à Brancusi"

1956-1971

Paris, Salon de la Jeune Sculpture

1957

Paris, Galerie Suzanne de Conninck

1957-1965

Paris, Realites nouvelles

1959

Paris, Galerie Saint Augustin, "Cinq jeunes sculpteurs de l'École de Paris"

Houston, Museum of Fine Arts

Paris, Galerie Daniel Cordier, "Exposition internationale du Surréalisme"

1960

Musée de Saint-Etienne, "Cent sculpteurs de Daumier à nos jours"

1960-1971

Paris, Zürich, Tokyo, Havana, Salon de Mai

1961

Paris, Galerie du Dragon, "Art cubain contemporain",

Presentato da/présenté par Robert Altmann

Paris, Galerie de Varenne, "Dessins de jeunes sculpteurs"

New York, d'Arcy's Galleries "Exposition internationale du surréalisme"

Paris, Biennale (premio per la scultura/prix pour la sculpture)

Festival di Spoleto, Italia

1962

London, Hannover Gallery

Paris, Galerie Blumenthal, "Sculpteurs d'aujourd'hui"

Paris, Galerie du Cercle, "Un demi-siècle de sculpture"

Paris, Musée des Arts Décoratifs, "L'Objet"

1963

Paris, Galerie Creuze, “Actualité de la Sculpture”

1964

Mannheim, Margarete Lauter Galerie, “ Montparnasse heute”

1965

Paris, Musée Galliera, “Babel 65”

Paris, Galerie de Lœil, Exposition internationale du Surréalisme, “L’Écart absolu”

Paris, Maison des Jeunes et de la Culture, “Sculptures contemporaines”

Tokyo, Biennale internationale

Paris, Galerie Claude Bernard, “La Main”

Paris, “Comparaisons”

Antwerp, Biennale de sculpture

1966

Paris, Galerie Saint-Germain, “Un sculpteur et neuf peintres Cubains”

Paris, Eva Eyquem et Galerie Maywald, “Sculpture et bijoux”

Frankfurt, “École de Paris”

Paris, “Grands et Jeunes d’aujourd’hui”

1967

Yvelines, Relais de Vaux-de-Cernay, "Le jardin de la Sculpture"

Carrara, Biennale Internazionale di Scultura

1968

Carrara, Biennale Internazionale di Scultura

Cecoslovacchia/Tchécoslovaquie, "princip slasti"

Ancy-le-Franc

Paris, Galerie Europe, "Trois Sculpteurs"

1969

Antwerp, Biennale de Sculpture

Avignon, Festival

Carrara, Biennale Internazionale di Scultura

Port Barcares, exposition internationale

Musée de Saint-Germainen-Laye, “Depuis Rodin”

1970

Paris, Salon Grands et Jeunes d’aujourd’hui

Roma, “Visione 24”

Stockholm, Moderna Museet “Surrealism?”

Rouen, “Sculptures dans la Cité”

Mâcon, “ Sculptures à ciel ouvert”

Paris, Les Halles, “Art et Architecture, bilan et probleme du 1%”

Paris, Galerie Vercamer, “Presence européenne”

1971

Paris, Salon Grands et Jeunes d’aujourd’hui

Oslo, Charlottenlung, Lund, Göteborg,”Art latino-américain en Scandinavie”

Köln, Baukunst, “Der Geist des Surrealismus”

Paris, Nuit du Faubourg St Honoré, “sculpture monumentale”

Germania/Allemagne, Gallerie Vercamer, “Europa International”

Paris, Galerie Saint-Germain, “25 sculpteurs contemporains”

1972

Paris, Musée Galliera

1973

Budapest, Il Bienale Internationale de la Petite Sculpture

Passy, Plateau d’Assy, “Sculptures en montagne”

Paris, Galerie de Seine,

Paris “Collection fantôme”, Galerie de Seine

1974

Brussels ‘Agustín Cárdenas’, Galerie de France et du Benelux

Sevres, Exposition des œvres de la Manufacture de Sévres

1976

Madrid, Galeria Théo, “Formas en el espacio”

1977

Ratilly, “Espace-lumiere dans les sculptures du Cubisme à aujourd’hui

Paris, Galerie Francoise Tournié, “Huit Sculpteurs” (Hadju, Stahly, César, Penalba, Poncet, Cárdenas, Parvine Curie, Etienne Martin)

1978

Lyon, Festival de Lyon

1980

Giappone/Japon, Mostra Colletiva/ Exposition de groupe

1984

Verona, “Idiomi della sculptura contemporanea”

1985

Tarbes, “En hommage à Alicia Penalba”

1986

Collioure, “Exposition internationale de sculpture contemporaine”

1987

England, Yorkshire, Open Air Museum

1988

Paris, Galerie du Dragon, “Autour d’Edouard Glissant” Caracas, Galeria Durban

1989

Paris, Salon de Mars

Carrara, Pietrasanta ”Scolpire” Caracas, Galeria Durban

1990

Paris, Foire internationale d’art contemporain Caracas, Museo de Bellas artes, “Figuración, Fabulación”

1991

Paris, Artcurial, Belvedére d’André Pierre de Mandiargues

Bogota, FIART

Paris, Musée National d’art Moderne, Centre Georges Pompidou, ”André Breton Caracas, Galeria Dúrbán, “Lengua/Esenciales de la Epoca” 1992

Caracas, FIA (Feria Ibero Americana de arte)

Miami, International Art Esposition Arco Caracas, Galeria Dúrbán, “Blanco/Negro”

Paris, Centre culturel du Mexique, “Trente sculpteurs latino-americains” 1993

Bochum, Museum Bochum, “Lateinamerika und der Surrealism”

New York, Museum of Modern Art, “Latin American Artists of the Twentieth Century“ 1995

Musée de Meudon, “Hommage à Denys Chevalier” Padova, “Concorso Internazzionale del Bonzetto” 1997

New York, The Art Show, Jeffrey H. Loria

Paris, Galerie Claude Lemand, “Autour de José Pierre” Paris, Pavillon des Arts, surréalisme et l’amour” Milano, PAC, “I Caraibici”

Barcelona, Palma de Majorca, “Cuba, Siglo XX” 2001

Jerusalem, Israel Museum, “Dreaming with Open Eyes: The Vera and Arturo Schwarz Collection of Dada and Surrealist Art in the Israel Museum” 2002

Paris, JGM Galerie, FIAC

San Francisco, Fine Arts Museums of San Francisco, Toronto, Art Gallery of Ontario, “Dreaming with Open Eyes: The Vera and Arturo Schwarz Collection of Dada and Surrealist Art in the Israel Museum”

2008

Coral Gables, Tresart, “Arte Americas The Latin American Art Fair” 2009

Coral Gables, Cernuda Arte, “La Barbacoa, Group Show of Contemporary Cuban Art” 2014

Coral Gables, Cernuda Arte, “Important Cuban Artworks, Volume 10”

2015

Coral Gables, Cernuda Arte, “Important Cuban Artworks: Volume 12”

2017

Paris, Galerie Thessa Herold, “Pas de mur pour l’art”

New York, Almine Rech, “Imaginary Ancestors”

Miami, Pan Amerian Art Projects, “La Republica vista por sus artists/ The Republic through the Eyes of its Artists” 2018

New York, Di Donna Galleries, “The Life of Forms”

Miami, LNS Gallery, “Winter Highlights”

2019

Barcelona, Galeria Marc Domenech, “Those Small Things...”

Miami, Pan Amerian Art Projects, “The Universal Language of Abstraction”

Paris, Galerie Mitterrand, “Une Breve Historie de la Modernité des Formes”

2020

Los Angeles, BLUM, “New Images of Man”

New York, Waterhouse and Dodd, “Online: Modern Masters”

Miami, LNS Gallery,

“The Summer Collective: A Group Exhibition of 20+ Artists”

Miami, Ascaso Gallery, “Abstraction and Figuration in Space”

2021

New York, Bill Hodges Gallery, “Paper”

New York, Bill Hodges Gallery, “Selections from the Collection”

London, Aktis Gallery, “Minimo- Minimal and Monumental Art”

Paris, Almine Rech, “Portraits/Abstraits“

New York, Bill Hodges Gallery, “ Wifredo Lam + Agustín Cárdenas” 2022

New York, Bill Hodges Gallery, “Masters of Sculpture”

New York, The Metropolitan Museum of Art, “Surrealism Beyond Borders”

London, Tate Modern, “Surrealism Beyond Borders”

Paris, Almine Rech Gallery, “Dialogues”

New York, Bill Hodges Gallery, “Blockbuster” 2023

Miami, Ascaso Gallery, “Contemporary Sculpture” 2024

Miami, De la Cruz Collection, “House of Motion/ New Perspectives”

Fort Worth, Modern Art Museum of Fort Worth, “Surrealism and Us: Caribbean and African Diasporic Artists Since 1940”

Bibliography

“Agustín Cárdenas,” Lorenzelli Arte, accessed January 24, 2024, https://lorenzelliarte.com/en/artists/38-agustin-cardenas/biography/.

“Agustín Cárdenas.“ Pan American Art Projects, 1 June 2008. panamericaart.com/artist/Agustin-Cardenas

“Agustín Cárdenas,” Rosenberg & co., accessed January 24, 2024, http://www.rosenbergco.com/artists/agustin-cardenas. “Biographie,” agustincardenasofficial.com, accessed January 24, 2024, https://www.agustincardenasofficial.com/read-me.

Breton, Andre. “Andre Breton.” Le Monde legendaire De Cardenas: Le chateau De Biron Et Les Jardins Du Manoir D’Eyrignac, JGM Galerie, 2012, p. 73.

Galerie Mitterand, Agustín Cárdenas (Paris: Imprimerie Jouve, 2018).

JGM. Galerie, Cárdenas (Besançon: Néo-Typo, 2003).

Pierre, José, and Martine Franck. La sculpture de cárdenas. Bruxelles: La Connaissance, 1971.

Credits

Foreword

Biography

Billy E. Hodges

Qiang Hu

McKenna Meskan

Joy Smith

Editor Navindren A. Hodges

Catalogue Photography

Research Asssistant

Joy Smith

Angel Hurtado

Zachary Bunin

Billy E. Hodges

Adam Reich

Fiona Donovan

Qiang Hu

ISBN 1-891978-32-2

Edition of 1,000

Printed in China

Left:

Untitled, 1964

Carrara Marble

27 ½ x 16 ½ x 7 ½ in.

(69.9 x 41.9 x 19.1 cm)

Back Cover: La dompteuse, 1972

Carraran Paonazzo Marble

27 ⅛ x 34 ⅞ x 18 ⅛ in.

(69 x 88.6 x 46 cm)

www.billhodgesgallery.com

Bill Hodges Gallery