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Soto was one of the leading figures of the influential “Volumen Uno”, an artistic movement that changed the course of Cuban Art in the decade of the 1980s, in which he was the first artist in his generation to work with the ] heritage.<ref>{{cite book|last1=Weiss|first1=Rachel|title=To and from utopia in the new Cuban art|date=2011|publisher=University of Minnesota Press|location=Minneapolis|isbn=978-0816665150|edition=1st Edition|accessdate=25 April 2018}}</ref> <ref name="Camnitzer">{{cite book|last1=Camnitzer|first1=Luis|title=New art of Cuba|date=2003|publisher=University of Texas Press|location=Austin|isbn=978-0292705173|edition=Nouv. éd. révisée.|accessdate=25 April 2018}}</ref> He is also credited for being the first performance and installation artist in the island. <ref>{{cite book|last1=Fusco|first1=Coco|title=Corpus delecti : performance art of the Americas|date=1999|publisher=Routledge|location=New York|isbn=978-0415194549|edition=1. ed.|accessdate=25 April 2018}}</ref> Soto was one of the leading figures of the influential “Volumen Uno”, an artistic movement that changed the course of Cuban Art in the decade of the 1980s, in which he was the first artist in his generation to work with the ] heritage.<ref>{{cite book|last1=Weiss|first1=Rachel|title=To and from utopia in the new Cuban art|date=2011|publisher=University of Minnesota Press|location=Minneapolis|isbn=978-0816665150|edition=1st Edition|accessdate=25 April 2018}}</ref> <ref name="Camnitzer">{{cite book|last1=Camnitzer|first1=Luis|title=New art of Cuba|date=2003|publisher=University of Texas Press|location=Austin|isbn=978-0292705173|edition=Nouv. éd. révisée.|accessdate=25 April 2018}}</ref> He is also credited for being the first performance and installation artist in the island. <ref>{{cite book|last1=Fusco|first1=Coco|title=Corpus delecti : performance art of the Americas|date=1999|publisher=Routledge|location=New York|isbn=978-0415194549|edition=1. ed.|accessdate=25 April 2018}}</ref>


In his ]s and the visual/] art which emerge from his performances, Soto responds to the postmodern coordinates of implosion and satire, often subverting the inceptions of culturally accepted notions of high/kitsch, traditional/pop, global/local, and profane/sacred art forms. Throughout his artistic career, he has demonstrated an interest in religion, ritual, and the mythology of indigenous people.<ref>Blanc, Giulio, "Review on Leandro Soto", Miami: Art Nexus, October 1994, pp 108-9</ref> In his ]s and the visual/] art which emerge from his performances, Soto responds to the postmodern coordinates of implosion and satire, often subverting the inceptions of culturally accepted notions of high/kitsch, traditional/pop, global/local, and profane/sacred art forms. Throughout his artistic career, he has demonstrated an interest in religion, ritual, and the mythology of indigenous people.<ref>Blanc, Giulio, "Review on Leandro Soto", Miami: Art Nexus, October 1994, pp 108-9</ref>


== Selected solo exhibitions == == Selected solo exhibitions ==

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Leandro Soto Ortiz
Born (1956-03-13) March 13, 1956 (age 68)
Cienfuegos, Cuba
NationalityCuban
Occupation(s)Visual artist, performance artist, set designer, costume designer


Leandro Soto Ortiz (born March 13, 1956) is a multidisciplinary visual/installation and performance artist. He is also a set and costume designer for theater and film. Soto studied at Escuela Nacional de Arte National Art Schools (Cuba) and Instituto Superior de Arte, University of Havana. As an educator he has taught and lectured at various Higher Education institutions in the U.S. and abroad. Soto also founded a creative workshop, El Tesoro de Tamulte, in Tabasco, Mexico, from which professional artists emerged).

Biography

Soto was one of the leading figures of the influential “Volumen Uno”, an artistic movement that changed the course of Cuban Art in the decade of the 1980s, in which he was the first artist in his generation to work with the Afro-Cuban heritage. He is also credited for being the first performance and installation artist in the island.

In his performances and the visual/installation art which emerge from his performances, Soto responds to the postmodern coordinates of implosion and satire, often subverting the inceptions of culturally accepted notions of high/kitsch, traditional/pop, global/local, and profane/sacred art forms. Throughout his artistic career, he has demonstrated an interest in religion, ritual, and the mythology of indigenous people.

Selected solo exhibitions

  • 2018 Crónicas visuales. Museo Nacional de Bellas Artes. Havana, Cuba
  • 1997 A Glance over the Garden. Big Orbit Gallery. Buffalo, New York
  • 1992 Resonancias de la selva (Resonances of the jungle). Galería Nina Menocal, México D.F.
  • 1984 Retablo familiar (Family alterpiece). Casa de la Cultura. Plaza Gallery and Art Center. Havana, Cuba.

Selected group exhibitions

Selected publications

  • Soto, Leandro (April 11, 2018). "Leandro Soto on World Cultures, Cubanidad, and His Show in Havana". Cuban Art News.
  • El tesoro de Tamulté : arte desde el trópico. Phoenix. Ariz.: Editorial Orbis Press. 2003. OCLC 58678600.
  • O'Reilly-Herrera, Andrea, ed. (2001). "Testimony of an Artist". ReMembering Cuba : legacy of a diaspora (1st ed.). Austin: University of Texas Press. p. 245. ISBN 0292731477.
  • Fusco, Coco, ed. (1999). "Performance in Cuba in the 1980s". Corpus delecti : performance art of the Americas (1. ed.). New York: Routledge. p. 266. ISBN 9780415194549.

Notes and references

  1. Finding aid author: Ximena Valdivia (2008). "Guide to the Leandro Soto papers". Prepared for the University of Miami Libraries, Coral Gables, FL. Retrieved March 31, 2014. This article incorporates text from this source, which has been released under a Creative Commons Attribution-ShareAlike 3.0 and GNU Free Documentation license.
  2. https://www.worldcat.org/title/tesoro-de-tamulte-arte-desde-el-tropico/oclc/58678600
  3. Weiss, Rachel (2011). To and from utopia in the new Cuban art (1st Edition ed.). Minneapolis: University of Minnesota Press. ISBN 978-0816665150. {{cite book}}: |access-date= requires |url= (help); |edition= has extra text (help)
  4. ^ Camnitzer, Luis (2003). New art of Cuba (Nouv. éd. révisée. ed.). Austin: University of Texas Press. ISBN 978-0292705173. {{cite book}}: |access-date= requires |url= (help)
  5. Fusco, Coco (1999). Corpus delecti : performance art of the Americas (1. ed. ed.). New York: Routledge. ISBN 978-0415194549. {{cite book}}: |access-date= requires |url= (help); |edition= has extra text (help)
  6. Blanc, Giulio, "Review on Leandro Soto", Miami: Art Nexus, October 1994, pp 108-9

Further reading

External links

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