LOGIN EXHIBITOR LOGIN VIP / Guest
Ricardo Brey, Exilio temporal, 2016, Courtesy of the artist and of Galerie Nathalie Obadia, Paris/Brussels.
Ricardo Brey, The ceiling on the floor, 2016, Courtesy of the artist and of Galerie Nathalie Obadia, Paris/Brussels.
Ricardo Brey, Rulers, 2016, Courtesy of the artist and of Galerie Nathalie Obadia, Paris/Brussels.
Ricardo Brey, Second law of thermodynamics, 2003-2016, Courtesy of the artist and of Galerie Nathalie Obadia, Paris/Brussels.
Ricardo Brey, Keep your lamp trimmed, 2016, Courtesy of the artist and of Galerie Nathalie Obadia, Paris/Brussels.
Ricardo Brey, Mono-no-aware, 2016, Courtesy of the artist and of Galerie Nathalie Obadia, Paris/Brussels.
Ricardo Brey, Inclosure, 2016, Courtesy of the artist and of Galerie Nathalie Obadia, Paris/Brussels.
Ricardo Brey, Domino figure, 2016, Courtesy of the artist and of Galerie Nathalie Obadia, Paris/Brussels.

RICARDO BREY - ALL THAT IS COULD BE OTHERWISE

Jan 07, 2017 — Feb 25, 2017

NATHALIE OBADIA
Paris Fair Exhibitor

18 rue du Bourg-Tibourg
75004 paris
vasb@angunyvrbonqvn.pbz
T +33 153 019 976
www.nathalieobadia.com

The Galerie Nathalie Obadia is delighted to present Ricardo Brey’s exhibition entitled All that is could be otherwise, after Kicking the can down the road held at the Brussels gallery in 2014.
Ricardo Brey, born in Havana (Cuba) in 1955, lives in Ghent, Belgium, since 1991. He is one of the most prominent Cuban artists on the international art scene.

The All that is could be otherwise exhibition will highlight several Ricardo Brey’s more recurrent themes in his oeuvre . In his more recent works, the artist often questions the figure of the tree, blanketed with fragments, surrounded by pieces of objects or partially covered. He draws his inspiration directly from the place of plants in Cuba, which underwent massive deforestation. His recent photos based works, often printed on canvas, combines the intensity of the image with its negation through the intensity of objects, like the installations Sea Level (2016) or Àrbol cortado y escombros (2013-2014). Birdland (2001), is a pivotal piece considering that on it Brey accomplished different meanings and thoughts in one work, such as the combination of references to the music and the natural world. This installation also implicates the free spirit of association taking from the jazz that are translated into all Ricardo Brey’s work «(…)crossroad of thoughts that comes and back in different shapes during years». «Birdland is the name of a mythical place for all jazz musicians. In the middle of a nest made of coats and urban waste, surrounded by ostrich eggs, lies a saxophone standing like a swan», explains Ricardo Brey. The bird, or its eggs, is also very often used as a poetical metaphor of freedom and an opening to something else (especially in The Tourist, 2016).