Belkis Ayón Cuba, 1967-1999
36 1/2 x 26 1/2 in
Belkis Ayón (1967–1999) was a Cuban printmaker known for highly detailed allegorical black-and-white prints inspired by Abakuá, a secretive, all-male Afro-Cuban religious group. Discovering the sect whilst studying at the Academia Nacional de Bellas Artes San Alejandro, she was drawn to Princess Sikán, the only woman in Abakuá lore, who was executed for revealing its secrets. Ayón adopted the princess as an alter-ego, depicting her in many prints. In ¿Arrepentida? she appears with three arms, seemingly clawing or sensually caressing her own flesh. More arms emerge from the darkness, enveloping the expressionless figure who, standing statuesque, looks both strong and vulnerable. Made with the collograph technique, which uses low relief printing plates created from collaged imagery, Ayón’s depictions of Sikán extend beyond Abakuá mythology,
referencing tales of female disempowerment across history. In this she joined a tradition of feminist Cuban artists who challenged the patriarchal communist regime under which they were raised.
Provenance
Private Collection, Germany (acquired directly from the artist)
Private Collection (acquired from the above)
Sale; Phillips New York, 8 March 2023, Lot 59
Exhibitions
Havana, Centro Provincial de Artes Plasticas y Diseño, Siempre vuelvo. Grabados de Belkis Ayón, 1993 (another example exhibited)
Havana, Centro Provincial de Artes Plasticas y Diseño, 3er Encuentro de Grabado '93, 1993 (another example exhibited)
Milan, Galleria Colorenero, Siempre vuelvo, 1994 (another example exhibited)
Cienfuegos, Galería GRAU, Centro de Desarollo de las Artes Visuales, Siempre vuelvo. Exposición personal de Belkis Ayón, 1995 (another example exhibited)
Breinig, Kirche St. Barbara, Unterstütze mich, halte mich hoch, im Schmerz. Belkis Ayón, 1995
Bad Steben, Staatlichen Kurhaus, Cuba Kunst Heute, 1997 (another example exhibited)
Havana, Galería Haydee Santamaría, Casa de las Américas, Mitos en el Caribe, August 2000, pp. 7, 40 (another example exhibited and illustrated, p. 7)
Havana, Museo Nacional de Bellas Artes, Colografías y matrices de Belkis Ayón. Imágenes desde el silencio, 2001 (another example exhibited)
University Art Museum at the University at Albany, State University of New York, Passionately Cuban. Nine artists from Havana, October 13–November 18, 2001, p. 71 (another example exhibited)
Saint Petersburg, Museum Ludwig im Russischen Museum, Art From Cuba: The Ludwig Collection, April 15–June 3, 2002, no. 25, pp. 51, 160 (another example exhibited and illustrated, p. 51, titled as La pecadora arrependita)
Santiago, Galería BordeRío, 31 artistas cubanos contemporáneos en Chile, 2003, p. 20 (another example exhibited and illustrated)
Matanzas, Galería de Arte Colón, Siempre vuelvo. Colografías de Belkis Ayón, 2005 (another example exhibited)
Santa Clara, Galería Provincial de Arte de Villa Clara, Siempre vuelvo. Colografías de Belkis Ayón, 2005 (another example exhibited)
Havana, Galería Villa Manuela, Belkis Ayón, origen de un mito, 2006 (another example exhibited)
Havana, El Convento de San Francisco de Asís, Nkame. Belkis Ayón (1967–1999), 2009 (another example exhibited)