A
A
lexandre RRECHEA
Milagros at the Temple of Abundance 2024
of the exhibition | Alexandre Arrechea, Uncharted Surfaces
View
LNS GALLERY, project room, Miami, FL
Unsuspected Trips 2024
oil on canvas
48 x 36 inches, 121.92 x 91.44 cm.
LnS
Uncharted Surfaces:
Navigating Narratives & Mapping Connections
We are deeply honored to collaborate with Alexandre Arrechea on the debut of his exhibition Uncharted Surfaces at LnS Gallery. This marks a pivotal moment not only in Arrechea’s distinguished career, as he focuses exclusively on painting for the first time, but also in our gallery’s ongoing mission to engage with artists whose work challenges boundaries and sparks meaningful discussion. Welcoming Arrechea’s bold new direction has been a privilege, and we are grateful for the opportunity to share it with the public.
With a career spanning over three decades, Alexandre Arrechea has left an indelible mark on the arts with monumental projects that seamlessly merge art, architecture, and social commentary. His innovative approach has consistently shaped and inspired audiences, and his ability to reimagine everyday objects into powerful creations promotes a
Luisa Lignarolo
reconsideration of the familiar. As a founding member of the renowned Los Carpinteros collective, his early practice was shaped by collaborative explorations into the convergence of design and community while drawing on longstanding artisanal traditions. The artist group garnered acclaim for their inventive materials, methods, and message.
Since embarking on his solo career in 2003, Arrechea has achieved international recognition for his large-scale public sculpture and installations, which have been showcased in prestigious locations around the globe, from the streets of New York to museums across Europe and Latin America. In addition to being visually compelling, these artworks prompt audiences to reevaluate the obvious, fostering reflection on social norms, memory, and habitat.
Uncharted Surfaces marks a remarkable evolution for Arrechea, distilling his artistic vision through the intimate medium of painting.
At first glance, the works may seem like a departure from his earlier production, yet they quietly reveal the artist’s iconic forms that blend with subtle elements from modern masters. With hints of Henri Rousseau, Jean Arp, Henri Matisse, Frank Stella, and Wifredo Lam, among others, a nod to art history merges with playful surrealism, resulting in an extraordinary collection crafted with the same precision that defines Arrechea’s previous work.
In this series, Arrechea displays his thoughtful approach through intricate nuances. While each piece conveys its own storyline, the deliberate alignment of diagonal lines in every work ties them together, creating cinematic frames within a broader narrative. These symbolic threads, guide the viewer from one scene to the next, and the organic shapes that weave within diagonals underscore themes of interconnectedness, relationships, and unity—hallmarks of Arrechea’s oeuvre.
The centerpiece of the exhibition, located in the project room, Milagros at the Temple of Abundance, is a
captivating vignette that transports us to a serene dreamscape, where creatures both earthly and otherworldly coexist in a fantastical garden tended by a solitary female figure—a heartfelt tribute to Arrechea’s grandmother. Milagros cultivates calm and a moment to reflect on the strength and resilience of matriarchs, celebrating their vital role in shaping both personal and collective histories. The work is a personal tribute, yet its resonance extends beyond the individual, touching on broader themes of remembrance and inheritance.
Outside of the vitrine that houses the grande dame, flanked on the left and right walls, two site-specific murals also serve as windows into the garden. This time we see her caring hands in zoom as Milagros nurtures her delicate plants, a poignant reminder highlighting the significance and fragility of all living things. The angled lines in the backgrounds echo those found on the canvases in the show, further reinforcing the narrative of connectivity, while mapping a path to the gem inside the project room.
Other works in the exhibition’s modular system, such as Maternity and The Researcher in His Lab , examine relationships and space, while also delving into the emotional and psychological bonds that anchor humanity. Maternity , as its title suggests, describes the tender embrace between mother and child, yet in this interpretation, the majestic figure cradles the land, resembling a goddess and personification of the earth, fiercely protective of her domain.
Aligned with the vibrant color theme that unifies the backdrops of the storyboard-like series, The Researcher in His Lab presents a central figure rendered in deep ebony creating a striking contrast that commands attention. In this dynamic mise-en-scène, the protagonist navigates a sea of diagonals and intertwined objects. Visual clues, including iconography reminiscent of Arrechea’s three-dimensional work, offer viewers the chance to decipher autobiographical symbols, perhaps even hinting at a self-portrait. The artist transforms the observer into an active participant, embarking on a treasure hunt of meaning and identity.
By skillfully blending nature, architecture, and personal experience,
Arrechea initiates an exchange that encourages us to contemplate our connections to daily environments. The unseen attachments uniting individuals and their contexts become tangible through the creator’s lens, turning everyday circumstances into moments of profound insight.
At LnS Gallery, we feel fortunate to have participated and witnessed in Arrechea’s seamless transition from large-scale installations to painting. His ability to adapt, expand, and thrive in his practice speaks to his continual growth and exceptional contributions as an artist. Uncharted Surfaces is not just an exhibition; it is a testament to Arrechea’s ongoing research into social condition, our surroundings, and the intricate network that binds us all.
With great enthusiasm and respect, we present Arrechea’s extraordinary journey, inviting you to cross these ‘uncharted surfaces,’ where creative expression, life, terrain, and interconnectedness meet in vibrant dialogue.
Welcome, wander, and discover the magic of Alexandre Arrechea’s
Uncharted Surfaces .
Untitled [Milagros] 2024
View of the exhibition | Alexandre Arrechea, Uncharted Surfaces site-specific mural [left wall], LNS GALLERY, Miami, FL
Maternity 2024
The Researcher in His Lab 2024
of the exhibition | Alexandre Arrechea, Uncharted Surfaces
View
LNS GALLERY, Miami, FL
The Researcher in His Lab 2024
oil on canvas
72 x 72 inches, 182.88 x 182.88 cm.
Maternity 2024
x 72 inches, 182.88 x 182.88 cm.
oil on canvas
72
Inter
view .
LnS: What prompted your transition from large-scale sculptures to paintings?
Alexandre Arrechea: Transitioning from large-scale public sculptures to painting has been a revelation for me. Public sculptures often require years to bring a single idea to fruition. Painting, on the other hand, offers greater control and efficiency. It allows me to delve into intricate details and experiment with new techniques, capturing the essence of a moment in ways sculpture cannot. It’s a more intimate and personal experience, enabling me to explore the subtle nuances of color, texture, and composition.
What has painting allowed you to achieve that sculpture did not? Painting has allowed me to delve deeper into the intricacies of the human experience and the natural world. It offers a creative freedom that has reinvigorated my artistic practice. Integrating diverse elements into a single entity is something I’ve long aspired to achieve, and I feel this exhibition
Alexandre Arrechea Laurie Rojas - LnS
represents that aspiration realized. It’s a culmination of my artistic evolution, rooted in the simple yet profound lesson from my grandmother: within the smallest things, entire worlds can exist.
Vegetation is a recurring theme in your art. What does it symbolize for you?
Vegetation has always symbolized growth, resilience, and interconnectedness in my work. My early piece, “The Garden of Mistrust,” features a tree populated with surveillance cameras—a fusion of natural elements with societal commentary. This motif continued in works like “Orange Tree,” and “No One Listens,” where I used the garden as a metaphor for society and the complexities of human interaction. In “No One Listens,” the garden reflects societal disconnect, a theme I continue to explore.
How did your grandmother influence your artistic journey?
From a young age, I was captivated by the idea that small things can hold
immense meaning—a belief instilled in me by my grandmother. She was a gardener who nurtured not just plants but also my deep appreciation for nature. Before school tests, she would place a piece of wood from a tree in our patio into my pocket, telling me it would bring me luck. That simple piece of wood became a world Artunto itself, embodying more than it seemed. Her love of gardening and the natural world inspired me to become an artist and remains a constant muse in my work.
How does Milagros at the Temple of Abundance pay homage to your grandmother?
In Milagros at the Temple of Abundance I create a fantastical garden filled with symbolic plants, each representing different aspects of my grandmother's personality and her influence on my life. The garden serves as a metaphor for growth, renewal, and the enduring power of love, addressing broader issues like the relationship between humans and nature. When you look at each plant, you're also viewing an entire landscape—mountains, rivers, and lakes intricately woven into their forms. I've incorporated references to modern masters like Jean Arp and Wilfredo Lam, adding layers of meaning and connection.
How do you approach this body of work, and what is the significance of the modular system?
I approach this body of work like constructing a film. Each painting captures a moment or frame, and the connecting lines serve as the reel binding them together. By varying the tension and placement of these lines—sometimes part of the background, other times crossing over main elements—I emphasize the fluidity and interconnectedness within the work. This modular system presents a complex, multifaceted narrative that captures moments and histories from multiple perspectives.
Can you explain the concept behind your exhibition Uncharted Surfaces?
Uncharted Surfaces reflects my engineering background and interest in multi-angled perspectives. The title signifies the new artistic territory I'm exploring—a departure from my previous work in both medium and subject matter. The exhibition features a modular system of paintings connected by structural lines, symbolizing the underlying relationships between various elements. Each painting can be viewed individually, but together they create a larger, interconnected whole.
Milagros at the Temple of Abundance 2024 oil on canvas 108 x
Unpostponable Desire 2024
oil on canvas
72 x 72 inches, 182.88 x 182.88 cm.
Bridging the Gap 2024
oil on canvas
72 x 72 inches, 182.88 x 182.88 cm.
Witness of Creation 2024
108 x 108 inches, 274.32 x 274.32 cm.
oil on canvas
The Theory of Universality 2024
oil on canvas
48 x 36 inches, 121.92 x 91.44 cm.
Road Map to the South 2024
oil on canvas
48 x 36 inches, 121.92 x 91.44 cm.
The Mirror 2024
oil on canvas
36 x 24 inches, 91.44 x 60.96 cm.
Stepping on Blue Grass 2024
oil on canvas
36 x 24 inches, 91.44 x 60.96 cm.
The Secret, Revealed 2024
oil on canvas
24 x 18 inches, 60.96 x 45.72 cm.
the Intangible 2024
Weaving
oil on canvas
36 x 48 inches, 91.44 x 121.92 cm.
The Goal is the Message 2024
oil on canvas
48 x 48 inches, 121.92 x 121.92 cm.
[The Golden Branch]
La Rama Dorada 2024
oil on canvas
48 x 36 inches, 121.92 x 91.44 cm.
Alexandre RRECHEA
Alexandre Arrechea is a renowned
Cuban-born contemporary artist whose diverse works span large-scale installations, sculptures, watercolors, and video art, all of which address critical issues like history, memory, politics, and the complex power dynamics within urban spaces. His approach to art is deeply rooted in exploring the ideological and cultural layers of architectural design, revealing how these structures convey social value and hidden decisions that shape their interpretation. Through his installations and drawings, Arrechea examines the architectural landscape to uncover the multiple conflicts embedded within it, offering fresh perspectives on how buildings function as more than just physical spaces.
As a founding member of the Cuban collective ‘Los Carpinteros’, active from 1991 to 2003, Arrechea gained international recognition. He embarked on his solo career in 2003
and achieved notable acclaim with works such as Nolimits (2013), a series of ten sculptures inspired by iconic New York City buildings that lined Park Avenue, and Katrina Chairs (2016), an installation at the Coachella Music Festival in California.
In 2020, Arrechea presented Dreaming with Lions, an immersive circular installation resembling a forum and library at Faena Miami Beach, evoking themes of resilience and knowledge. His more recent works include a collaboration with Balmain in 2022, Hexagon Garden, in Miami, and a partnership with the Birmingham Royal Ballet in 2023 for the production Black Sabbath, further highlighting his ability to merge visual art with other cultural disciplines. His works continue to captivate international audiences by offering a dynamic and thought-provoking exploration of architecture and its intersection with culture and politics.
Alexandre Arrechea in his studio Miami, FL
Alexandre RRECHEA
BORN
1970
Trinidad, Cuba
EDUCATION
1994
Graduated from Instituto Superior de Arte (ISA), Havana, Cuba.
SOLO SHOWS
2024
Uncharted Surfaces, LnS Gallery, Miami, FL.
2023
INTERSECTED HORIZONS, Museum of Latin American Art, (MOLAA) Curated by Gabriela Urtiaga, Long Beach, CA.
2022
Hexagon Garden, Miami Art Week. In collaboration with Balmain / Super Blue, Curated by Direlia Lazo, Miami, FL.
Landscape and Hierarchies, Artyard, Frenchetown, NJ.
2021
Monumental, Casado Santapau Gallery, Madrid, Spain.
2020
Dreaming with Lions, FAENA HOTEL Miami Beach, Curated by Direlia Lazo, Miami Beach, FL.
2019
Corners, Nara Roesler Gallery, New York, NY.
2018
Redo, Kabinett Sector at Art Basel, Miami Beach Convention Center, Miami, FL.
Uninhabited order, Fredric Snitzer Gallery, Miami, FL. Higienopolis, Casado Santapau Gallery, Madrid, Spain.
2017
La seducción del fragmento/The seductiveness of the fragment, La mar de arte, Palacio de Molina, Cartagena, Murcia, Spain.
Refazer, Nara Roesler Gallery, São Paulo, Brazil.
2016
Tied stone, Fredric Snitzer Gallery, Miami, FL.
Katrina chairs, Coachella Valley Music and Arts Festival, Palm Springs, CA.
2015
La seducción del fragmento/The seductiveness of the fragment, Casado Santapau Gallery, Madrid, Spain.
El mapa del silencio/The map of silence, Museo Nacional de Bellas Artes, 12th Havana Biennial, La Habana, Cuba.
Háblame, Boffo-New York, New York, NY.
2014
The map and the fact, Magnan Metz Gallery, New York, NY.
2013
Dos/Two, Casado Santapau Gallery, Madrid, Spain.
NO LIMITIS, Phillips Gallery, New York, NY.
NO LIMITS, Park Avenue Mall Project, New York, NY.
2012
Twisted Horizon, Magnan Metz Gallery, New York, NY.
2011
El objeto sacrificado/The sacrificed object, Casado Santapau Gallery, Madrid, Spain.
2010
Orange Tree, Ice Box Project Space (in conjunction with Philagrafika), Philadelphia, PA.
Evasive, Susanne Tarasieve, Paris, France.
Changing the Rules, Savannah College of Art and Design, Gutstein Gallery, Savannah, GA.
Elasticity, Magnan Metz Gallery, New York, NY.
Black Sun, NASDAQ Billboard - 43rd St. & Broadway, New York, NY.
Ideational Architecture, Los Angeles Municipal Art Gallery, Los Angeles, CA.
La ciudad que dejó de bailar/The city that stopped dancing, Casado Santapau Gallery, Madrid, Spain.
2009
Todo, Algo, Nada/Everything, Something, Nothing, Centro de Arte de Burgos, Burgos, Spain.
MISTRUST, Katzen Art Center, Washington D. C., USA.
Un día después del futuro/A day after the future, Galería Villa Manuela, La Habana, Cuba.
2008
Suicide Landscape, Casado Santapau Gallery, Madrid, Spain.
2007
What could happen if I lie, Magnan Projects, Magnan Emerich Gallery, New York, NY.
Scalpel and cotton, San Diego Museum of Art, San Diego, CA.
Contemporary links, San Diego Museum of Art, San Diego, CA.
Espacio derrotado/Defeated space, Casado Santapau Gallery, Madrid, Spain.
2006
Entrada libre para siempre/Perpetual free entrance, Patio Herreriano Museo de Arte Contemporáneo Español, Valladolid, Spain.
The limit, Mary Goldman Gallery, Los Angeles, CA.
2005
Nowhere, Alonso Fine Art, Miami, FL. POLVO/DUST, Miramar Trade Center, La Habana, Cuba.
DUST, Magnan Projects, New York, NY.
2004
Dos nuevos espacios/Two new spaces, Espacio Aglutinador, La Habana, Cuba.
Arte público/Public art, Mark Selwyn Fine Art, Los Angeles, CA.
Sudor/Sweat, Proyecto de arte público, La Habana, Cuba.
2003
Novos desenhos, Galeria Fortes-Vilaça, São Paulo, Brasil.
GROUP SHOWS
2021
I am: New Afro-latinx narratives, Museum of Latin American Art, (MOLAA) Curated by Gabriela Urtiaga, Long Beach, CA.
2019
The Armory Show, New York, NY. Feria Internacional de Arte Contemporáneo (ARCO/38th edition), Madrid, Spain.
2018
Gwangju Biennial: Imagined borders, Gwangju, South Korea.
Open spaces, Swope Park, Kansas City, MO.
Construçoes sensiveis, Centro Cultural Banco do Brasil (CCBB), Brasil.
The World’s Game: Fútbol and Contemporary Art, Pérez Art Museum, Miami (PAMM), Miami, FL.
2017
Art Basel Miami, Miami Beach Convention Center, Miami, FL.
Adios Utopia: Dreams and Deceptions in Cuban Art since 1950, Walker Art Center, Minneapolis, MN.
Feria Internacional de Arte Contemporânea (Artrio), Marina da Glória, Rio de Janeiro, Brasil.
Condemned to be Modern, Los Angeles Municipal Art Gallery, Los Angeles, CA.
Without Masks: Contemporary Afro - Cuban Art, Museo Nacional de Bellas Artes, La Habana, Cuba. Art Brussels, Brussels, Belgium.
The Armory Show, New York, NY.
Adios Utopia: Dreams and Deceptions in Cuban Art since, The Museum of Fine Arts, Houston, TX.
Feria Internacional de Arte Contemporáneo (ARCO/36th edition), Madrid, Spain.
2016
Los Carpinteros: Objeto Vital, Centro Cultural Banco do Brasil (CCBB), São Paulo, Brasil.
Group Inaugural Collective Exhibition, Galeria Nara Roesler, New York, NY.
2015
Iconocracia, Imagen del poder y poder de las imágenes, ARTIUM, Vitoria, Spain.
Round 42, The One and The Many: a self-portrait in seven parts, Project Row Houses, Houston, TX.
Heaven and Hell, Boghossian Foundation Villa Empain, Brussels, Belgium.
2014
Tom Sachs, Barry McGee, Alexandre Arrechea, SFAQ (projects), Art Basel, Miami Beach, FL.
Scotiabank nuit blanche, Toronto, Canada.
Dilated Biography: Contemporary Cuban Narratives, School of the Museum of Fine Arts - Boston, MA. Collaboration with Hermès Ibérica, Madrid, Spain. Beyond the SuperSquare, The Bronx Museum of the Arts, Bronx, New York, NY.
Cuban America: An Empire State of Mind, Lehman College Art Gallery, Bronx, NY.
2013
Habitar, Construir, Pensar: perspectivas poéticas y discursivas en el video art contemporáneo cubano (1990-2010), Museo de Arte Contemporáneo de Tampa-Graphic Studio (USF), Tampa, FL.
Oye, Mira! Reflective approaches in Contemporary Latin American Video Art, Walter and McBean Galleries, SAFAI, San Francisco, CA.
2012
Building Bacardi: Art, Architecture and Identity, Coral Gables Museum, Miami, FL.
2012
Against the Grain: Wood in Contemporary Art and Craft, The Mint Museum and Museum of Art and Design, New York, NY.
Havana Biennial (11th edition), La Habana, Cuba. Click or Clash? Third stage, Alexandre Arrechea, Maria Elvira Escallon, Gian Maria Tosatti, A cura di Omayra Alvarado e Julia Draganović Bianconi Gallery, Milano, Italy.
Skyline Adrift: Cuban Art and Architecture, Architecture Omi, Ghent, NY.
2011
ADJOINING ISLANDS, The Cuban Pavilion in Manhattan, The 8th Floor, 17 West, 17th Street, New York, NY.
Dublin Contemporary 2011, Dublin, Ireland. Venice Bienniale, Venice, Italy.
Fear, Salon de Vortex, Ithakis 24, Kipseli, Athens, Greece.
Feria Internacional de Arte Contemporáneo (ARCO/30th edition), Madrid, Spain.
Cuba Now, 21c Museum, Louisville, KY.
Hola Havana, Brooklyn Academy of Music, Brooklyn, NY.
2010
Global Africa Project, Museum of Art and Design, New York, NY.
City Fantasy, Jing’An International Sculpture Project, Shanghai, China.
Portugal Arte 10, Lisboa, Portugal.
UTROPICOS Sexto, XXXI Bienal de Pontevedra, Museo de Pontevedra, Galicia, Spain. Does the angle between two walls have a happy ending?, The Federica Schiavo Gallery, Rome, Italy. Changing the Focus: Latin American Photography (1990-2005), Museum of Latin American Art (MOLAA), Long Beach, CA.
2009
Tessaloniki Bienniale, Thessaloniki, Greece. Las Américas Latinas. Las fatigas del querer, Cinema Spazio Oberdan-Cineteca Italiana, Milan, Italy. Havana Biennial, La Habana, Cuba.
Feria Internacional de Arte Contemporáneo (ARCO/28th edition) Madrid, Spain.
2008
Informed by Function, Lehman College Art Gallery, Bronx, NY.
Feria Internacional de Arte Contemporáneo (ARCO/27th edition) Madrid, Spain.
Elefante Negro, Museo Diego Rivera, Anahuacalli, Mexico D.F., Mexico.
2007
Caribbean Encounters, Brooklyn Museum, New York, NY.
We are Your Future, (Special Project)
Moscow Biennial of the Fine Arts, Moscow, Russia. Tomorrow, Kumho Museum of Art, Seoul, Korea. New Perspectives in Latin American Art, Museum of Modern Art (MoMA), New York, NY.
2006
Fata Morgana. Illusion and Deception in Contemporary Art, Haifa Museum of Art, Israel. Moving Image, Alonso Art, Miami, FL.
Taipei Biennial, Taipei, China.
2005
NADA Art Fair, Mary Goldman Gallery, Miami, FL. Out of Place-Works on Paper, Mary Goldman Gallery, Los Angeles, CA.
Salón de arte contemporáneo, Centro de Desarrollo de las Artes Visuales, La Habana, Cuba. Venice Bienniale, Venice, Italy.
Arizona State University ASU Art Museum, Tempe, AZ.
COLLECTIONS AWARDS, RESIDENCIES, & RECOGNITIONS
Artnow International Kadist Art Foundation, San Francisco, CA.
Brooklyn Museum, Brooklyn, NY.
Centro de Arte Contemporáneo de Burgos (CAB) Burgos, Spain.
Museum of Modern Art (MoMA) New York, NY.
Centro Cultural Arte Contemporáneo Mexico D.F, Mexico.
Cisneros Foundation CIFO Miami, FL.
Cincinnati Museum of Contemporary Art, Cincinnati, OH.
Daros Latinamerica Collection, Zurich, Switzerland.
Ellipse Foundation Contemporary Art Collection, Lisboa, Portugal.
Fidelity Art Collection, London, England.
Fredrick Weissman Foundation. Beverly Hills, CA.
Centro Gallego de Arte Contemporáneo (CGAC), Santiago de Compostela, Spain.
Los Angeles County Museum of Art (LACMA), Los Angeles, CA.
Ludwig Forum Aachen, Aachen, Germany. Museum of Latin American Art (MOLAA), Long Beach , CA.
Museo Centro de Arte Contemporáneo Reina Sofía, Madrid, Spain.
Pérez Art Museum, Miami (PAMM) Miami, Florida.
Museo del Barrio, New York, NY.
Museo Extremeño e Iberoamericano de Arte Contemporáneo (MEIAC) Badajoz, Spain.
Museo Nacional de Bellas Artes (MNBA), La Habana, Cuba.
Museum of Art Fort Lauderdale, Fort Lauderdale, FL. Museum of Contemporary Art (MOCA), Los Angeles, CA.
San Diego Museum of Art (SDMA), San Diego, CA. Thyssen-Bornemisza Art Contemporary (TBA21) Vienna, Austria.
Ulrich Museum of Art at Wichita State University, Wichita, KS.
Art, Design & Architecture Museum at University of California, Santa Barbara, CA.
Museo Würth La Rioja, Agoncillo, Spain.
2013
NOLIMITS Park Avenue Mall, New York, NY.
2011
Defeated Space San Francisco Art Institute, San Francisco, CA.
2005
Braziers International Oxfordshire, England.
2002
Artist in Residence The Baltic Center for Contemporary Art, New Castle, England.
2000
Prize Fomento de las Artes UNESCO, 7th Havana Biennial, La Habana, Cuba.
1997
First Prize Contemporary Art-People’s Award El Mundo Magazine, Argentaria Foundation, ARCO Fair.
1995-96
Endowment Departamento de Exposiciones y Colecciones, Ministerio de Cultura Español, Madrid, Spain.
COLLABORATIONS
2023
Black Sabbath, The Ballet. In collaboration with Carlos Acosta. [Birmingham Royal Ballet, UK]
2017
Flux Exchange, Atlanta, GA.
2014
Nolimits Documentary, With Juan Carlos Alom, Armando Suarez Cobian and Ismael de Diego, Soho House, New York, NY.
2014
Beyond the SuperSquare, The Bronx Museum of Arts, Bronx, NY.
Uncharted Surfaces 2024
oil on canvas
48 x 36 inches, 121.92 x 91.44 cm.
roFthe abuelas who shaped our lives
Hildelisa y Milagros, las sonrísas y los abrazos
Sergio Cernuda
Good morning, mi niño lindo,
A jugo de naranja
To sweeten the day, Each sip a love-filled embrace.
Ángel de la guarda, dulce compañía
A blessing whispered
Typically on your way out
Slowing your steps, as you head out to the daily…
But after a few paces,
A smile rises, their love lingering behind.
Cógelo suave, y con cuidado, Gentle reminders to tread softly.
Que te vas a romper la cabeza, The nervous warning of a grandma’s love.
Y que no se te olvide ... Don’t forget, La rama de suerte,
A branch that connects you,
To those who will lift you up,
To those who will shine peace onto your path, This is my soulful offering, a gift of care.
Untitled [Milagros] 2024
View of the exhibition | Alexandre Arrechea, Uncharted Surfaces site-specific mural [right wall], LNS GALLERY, Miami, FL
Acknowledgments
We would like to express our heartfelt gratitude to our wonderful supporters, whose consistent commitment has made this exhibition—and so much more—possible. We are especially thankful to Bonnie and Peter Dockter, and Fini and Mario Lignarolo, whose unwavering love and presence enrich every project. We are grateful for the integral role you play in our journey. A special thank you to Laura Blanco and Bob Shainheit, whose steadfast belief in our mission, patronage, and encouragement mean the world to us. It is a privilege to count you as part of our extended family.
Thank you, Tony Ulloa. Since Day 1, your commitment to our program and boundless enthusiasm have been invaluable, and we are fortunate to have you as part of the LnS family. Many thanks to Orlando Justo for your wisdom and guidance over the years. We truly appreciate your ongoing contributions and are grateful to have you in the LnS circle.
Your collective support inspires us to push boundaries and reach new heights, and we are deeply appreciative of your impact in making moments like these a reality.
Special recognition to the LnS team: Norlam de Leon, thank you for your enduring dedication and for the masterful
installation you help bring to life. Laurie Rojas, since joining our team, you’ve brought fresh energy and a renewed sense of purpose—thank you! Sofia Guerra, our trusted right-hand for everything and a brilliant curator, it’s an honor to work by your side every day.
And finally, thank you to Alexandre Arrechea for entrusting us with your brilliant creations. It has been an honor and pleasure to exhibit and house Uncharted Surfaces. We look forward to many future collaborations.
A special debt of gratitude to Milagros, Alexandre Arrechea's grandmother, for inspiring this extraordinary narrative and for reminding us of the important roles matriarchs play in our lives. We also thank our own grandmothers—Hildelisa, Beatriz, and Josefina, more lovingly referred to as Mima, Nonna, and Toto—for your unconditional love and support. We hope you feel the joy in this remembrance, and we love you dearly.
We dedicate this show to the fierce matriarchs who are the glue that binds families for a lifetime!
alexandre arrechea | Uncharted Surfaces
essay | Luisa Lignarolo
interview / q&a | Laurie Rojas
interview transcription | Sofia Guerra
graphic design | Luisa Lignarolo
artwork photography | Rogelio López Marín (Gory)
poem | Sergio Cernuda
editorial assistant | Sofia Guerra
exhibition dates | October 4 - November 23, 2024
isbn | 979-8-9918219-0-2
publication copyright 2024 | LnS GALLERY
LNS GALLERY
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