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José Ángel Vincench: The Burden of Words: Viewing Room of selected work

Current viewing_room
2 September - 12 October 2025
  • THE BURDEN OF WORDS: Gold Leaf Works

  • 532 Gallery Thomas Jaeckel is pleased to present The Burden of Words, the fifth solo exhibition by acclaimed Cuban artist José Vincench, featuring gold leaf paintings on canvas created between 2018 and 2025. For over three decades, Vincench has defined his practice through four interconnected pillars — Context, Religion, Text, and Abstraction —visualizing the complexities, contradictions, and curtailed freedoms of life in Cuba. Abstraction serves as a subversive tool, synthesizing history and engaging ethical dilemmas. As Vincench questions, ‘What am I? A political abstract or an abstract politician?’ His work echoes 1950s Latin American abstract movements, balancing universal dialogue with local critique.
  • This commanding large-scale work atomizes the concept of democratic consultation, deconstructing laden words into idiosyncratic geometries within sensorial gold fields.
    Plebiscito, 2018, 22 kt on gold leaf, 250 x 250 cm
    This commanding large-scale work atomizes the concept of democratic consultation, deconstructing laden words into idiosyncratic geometries within sensorial gold fields.
    • Oposición, 2022

       

       

       

       

       

       

        

       

       Oposición, 2022

    • Confundido 4, 2022

       

       

       

       

       

       

        

       

       Confundido 4, 2022

  • Interrogating resistance, Oposición and Confundido 4 transform rhetoric into abstract forms, highlighting the tension between speech and silence in contemporary Cuba.
  • An intimate exploration of peace, inviting viewers to confront the burden of words in a minimal, resplendent composition.
    Paz, 2023, 22 kt gold leaf on canvas, 60 x 60 cm
    An intimate exploration of peace, inviting viewers to confront the burden of words in a minimal, resplendent composition.
  • GOLD ABSTRACTION SERIES (2022-25)

    This series of five 50 x 50 cm 22 kt gold leaf on canvas paintings explores paradoxes of power, privilege, and societal decay through abstract forms. The shimmering gold surfaces convey opulent fragility, masking critiques of corruption, disorientation, and folly—reflected in Spanish titles like Escoria and Nepotismo. As intimate counterparts to larger works, they invite reflection on ethical ambiguities, best viewed together in a contemplative alcove.

    • Delinquir

      Delinquir

    • Escoria

      Escoria

    • Nepotismo

      Nepotismo

    • El Viaje

      El Viaje

    • Confundido

      Confundido

  • Echoing action painting as a frozen memory of dissent, Pintura de Acción bridges the sensorial and conceptual through gold's malleable...
    Pintura de Acción, 2024, 22 kt gold leaf on canvas, 200 x 261 cm
    Echoing action painting as a frozen memory of dissent, Pintura de Acción bridges the sensorial and conceptual through gold's malleable sheen.
  • Critic Donald Kuspit describes Vincench’s gold leaf as a ‘peculiarly abstract material, a sort of immaterial material like light,’ shining...
    Plebiscito #1, 2022, 23 kt gold leaf on canvas, 150 x 150 cm
    Critic Donald Kuspit describes Vincench’s gold leaf as a ‘peculiarly abstract material, a sort of immaterial material like light,’ shining on the absurdity of life under an authoritarian regime. The paintings are heirs to concrete abstraction, conceptualism, and language-based art, visually arresting while intellectually challenging. Recent exhibitions include Under the Spell of the Palm Tree at the Harn Museum of Art (2023) and the 11th Havana Biennial (2012). Works are held in collections such as the UBS Art Collection (New York) and Museo Nacional de Bellas Artes (Havana).
  • At the core of my visual language is gold leaf, a material rich in paradox: sacred and transcendent, yet emblematic...
    At the core of my visual language is gold leaf, a material rich in paradox: sacred and transcendent, yet emblematic of power and capitalism rejected in Cuban society. It creates negative dialectics, holding opposites in tense equilibrium—socialist idealism versus global capital. This facilitates ironic ‘decorative products’ from human dramas, transforming politically charged rhetoric into poetic abstractions that critique symbolic domination while promoting reconciliation and forgiveness – José Vincench
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