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Gerardo Mosquera
Gerardo Mosquera (1945 in Havana) is a freelance curator, critic, art historian, and writer based in Havana, Cuba. He was one of the organizers of the first Havana Biennial in 1984 and remained central to the curatorial team until he resigned in 1989. Since then, his activity turned to be mainly international: he has been traveling, lecturing and curating exhibitions in more than 70 countries. Mosquera was adjunct curator at the New Museum of Contemporary Art, New York, from 1995 to 2009. Since 1995 he is advisor in the Rijksakademie van Beeldende Kusten in Amsterdam. His publications include several books on art and art theory (and a short stories' volume), and more than 600 articles, reviews and essays have appeared in such magazines as ''Aperture'', ''Art in America'', ''Art & Text'', ''Art Criticism'', ''Art Journal'', ''Art Nexus'', ''Atlántica'', ''Cahiers'', ''Casa de las Américas'', ''ArtForum'', ''Kunstforum'', ''La Jornada Semanal'', ''Lápiz'', ''Neue Bildende Kunst'', ''Oxford Art Journal'', ''Parkett'', ''Plural'', ''Poliester'', ''Third Text'', etc. Among other volumes, Mosquera has edited ''Beyond the Fantastic: Contemporary Art Criticism from Latin America'' (Cambridge, MA and London: INIVA and The MIT Press, 1995) and co-edited (with Jean Fisher) ''Over Here: International Perspectives on Art and Culture'' (Cambridge, MA and New York: The MIT Press and New Museum of Contemporary Art, 2004). His theoretical essays – which have been influential in discussing art’s cultural dynamics in an internationalized world, and contemporary Latin American art – are dispersed in English, but have been collected in books in Caracas〔''Contracandela'', Caracas, Monte Ávila Editores, 1995.〕 and Madrid〔''Caminar con el Diablo. Textos sobre arte, internacionalismo y culturas'', Madrid, Exit Publicaciones, 2010〕 in Spanish, and in Chinese in Beijing.〔''Infinite Islands. Art, Culture, Internationalization'', 2014, Beijing, BeePub.〕 Mosquera was the Artistic Director of PHotoEspaña, Madrid (2011–2013), and is currently Chief Curator of the San Juan Poly/Graphic Triennial, which will open on 2015.
==Early work==
Mosquera obtained his ''licenciatura'' in History of Art at the University of Havana in 1977. Since the early 1970s he was working as art, cinema and theater critic, researcher and journalist in Havana. He published thorough investigations on Servando Cabrera Moreno and Manuel Mendive〔His essays on Cabrera Moreno and Mendive were later gathered in Gerardo Mosquera, ''Exploraciones en la plástica cubana'', La Habana: Editorial Letras Cubanas, 1983.〕 two Cuban artists who had previously been marginalized for the erotic and religious Afro-Cuban (Mendive) content of their art, and as a result of homophobic cultural policies. Mosquera became the main critic and “ideologist” of the new Cuban art,〔Lucy Lippard: "Prólogo", in Gerardo Mosquera: ''Contracandela. Ensayos sobre Kitsch, identidad, arte abstracto y otros temas calientes'', Monte Ávila Editores Latinoamericana y Galería de Arte Nacional, Caracas, 1995, p. 11–20.〕〔Luis Camnitzer, ''New Art of Cuba'', Austin: University of Texas Press, 1994.〕 which he supported since its inception. In the 1980s this movement renovated the Cuban art scene, breaking away from official dogmatism and introducing contemporary critical tendencies. It was successful in pushing the Ministry of Culture to open up towards a more liberal cultural policy. Mosquera’s critical writings on the new Cuban art were instrumental to this turn, while he also promoted the new artists internationally.〔Rachel Weiss, ''To and from Utopia in the New Cuban Art'', University of Minnesota Press, 2011.〕 This movement triggered a critical and reflexive inclination that distinguishes Cuba’s arts until today. Mosquera’s work has also always looked beyond Cuba, as can be seen in his book ''El diseño se definió en Octubre'' (Design was Defined in October),〔"El Diseño se Definió en Octubre", Editorial Arte y Literatura, Havana, 1989, and Banco de la República, Bogotá, 1992〕 about Russian avant-garde art and design and its worldly impact, published in Havana in 1989 and Bogotá in 1992.
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