Carlos Martiel lives and works in New York and Havana. He graduated in 2009 from the National Academy of Fine Arts “San Alejandro,” in Havana. Between the years 2008-2010, he studied in the Cátedra Arte de Conducta, directed by the artist Tania Bruguera. Martiel’s works have been included in the Biennial of the Americas, USA; 4th Vancouver Biennale, Canada; 14th Sharjah Biennial, UAE; 14th Cuenca Biennial, Ecuador; 57th Venice Biennale, Italy; Casablanca Biennale, Morocco; Biennial “La Otra”, Colombia; Liverpool Biennial, United Kingdom; Pontevedra Biennial, Spain; Havana Biennial, Cuba. He has had performances at the Stedelijk Museum, Amsterdam, The Netherlands; La Tertulia Museum, Cali, Colombia; Centro de Arte Contemporáneo, Quito, Ecuador; Walker Art Center, Minneapolis, USA; The Museum of Fine Arts Houston (MFAH), Houston, USA. He has received several awards, including the Franklin Furnace Fund in New York, USA, 2016; “CIFOS Grants & Commissions Program Award” in Miami, USA, 2014; “Arte Laguna” in Venice, Italy, 2013. His work has been exhibited at The São Paulo Museum of Art (MASP), São Paulo, Brazil; The Museum of Latin American Art (MOLAA), Long Beach, USA; Patricia and Phillip Frost Art Museum, Miami, USA; among others. His works are in public and private collections such as The Solomon R Guggenheim Museum, New York; The Pérez Art Museum Miami (PAMM), Miami; Museu de Arte do Rio, Rio de Janeiro.

Context:
Carlos Martiel is a multi-disciplined, performance artist whose work exists in the context of notions of the global apartheid, and calls attention to the violence and the cultural, political, and economic exploitation enacted by the US and Europe against Black people. Moreover, his performance work seeks to visibilize historical Black trauma as an effective tool for investigating and confronting the unresolved history of Black people’s dehumanization by Western societies, and to offer modes of resistance to it, often using his own nude body.

In the works here, Carlos uses his body to inject these topics into his performances, effectively forcing the viewer to think about Blackness in the context of the Western colonial project, but also to think about what remains of those systems, how these systems have transformed in the present, and our own positionality to these systems.