Eugène Boudin

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Eugène Boudin (1824-1898)

Movimiento Impresionista

El legado de Eugène Boudin es el de un mentor silencioso y un precursor crucial del Impresionismo. A menudo eclipsado por la fama de sus alumnos, su contribución es, sin embargo, fundamental. Su influencia se centra en un consejo sencillo pero revolucionario que le dio a un joven Claude Monet: “Cuando salgas, no pintes solo las figuras, pinta el cielo, el mar, el aire, las sensaciones que te causan las nubes”.

Su contribución más importante al arte fue su papel como pionero de la pintura al aire libre (en plein air). Antes que los impresionistas, Boudin ya estaba obsesionado con capturar los cambios fugaces de la luz y la atmósfera. Se especializó en paisajes marinos de la costa de Normandía, pintando escenas de playas, puertos y cielos. Sus obras no se centran en los detalles, sino en la “impresión” general del momento: la luz que se filtra a través de las nubes, el reflejo en el agua y la brisa del mar. A través de sus pequeñas y rápidas pinceladas, sentó las bases de la técnica impresionista.

El legado de Boudin es la lección que transmitió a sus contemporáneos: que la verdadera belleza reside en la observación directa de la naturaleza y en la captura de sus efectos más efímeros. Su trabajo sirvió de puente entre la pintura de paisaje tradicional y la revolución impresionista. A través de su influencia, Boudin se aseguró un lugar en la historia como el maestro que le mostró a Monet y a toda una generación de artistas, que el estudio no era el único lugar para crear, y que el lienzo podía capturar algo tan vasto e inasible como el cielo mismo.

Vivir en Conciencia de Unidad con el Universo

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Vivir en Conciencia de Unidad con el Universo

Por Rafael Montilla

¿Por qué, aunque presentemos evidencia clara, muchas personas siguen aferradas a sus antiguas creencias?

La respuesta está en el funcionamiento mismo del cerebro humano.

“Tu cerebro no busca la verdad. Busca tener razón.”

Esto ocurre gracias al Sistema de Activación Reticular (SAR), una red de neuronas ubicada en el tronco cerebral que filtra la realidad, ignorando todo lo que contradice nuestras creencias… y resaltando lo que las confirma. En otras palabras: vemos solo lo que creemos.

Y no es magia. Es neurociencia.

¿Qué hace el SAR?

Elimina información que no encaja con tu percepción del mundo.
Exalta todo lo que confirma tu visión.
Distorsiona incluso lo que ves para que encaje con tus ideas.

Esto nos lleva a una conclusión reveladora:
No vemos el mundo como es. Vemos el mundo como somos.

La realidad es un espejo

Lo que ves afuera es, en gran parte, una proyección de tu estado interior.
TÚ NO ERES TUS PENSAMIENTOS.

Tus pensamientos son solo nubes pasajeras en el cielo de tu conciencia. No definen quién eres. Eres quien observa, quien presencia. Solo cuando te identificas con tus pensamientos limitantes, el espejo del mundo se vuelve una cárcel. Pero cuando los reconoces como simples contenidos de la mente, recuperas tu libertad interior.
Lo que crees, lo proyectas. Lo que proyectas, lo ves. Lo que ves, lo vives.

“La mente condicionada no percibe: interpreta.
No recibe: traduce.
No siente: filtra.”

Cada juicio, emoción, crítica o admiración que proyectas hacia afuera, habla más de ti que de lo observado. Tu mirada no es neutra: está teñida por tu historia, heridas, miedos y deseos.

“La belleza que te emociona, es el reflejo de tu alma.
La injusticia que te duele, es el grito de lo que no has sanado.”

¿Qué significa vivir en conciencia de unidad?

Significa comprender que:

El “otro” no está separado de ti.
Lo que ves en el mundo exterior es, en gran parte, un eco del mundo interior.
Transformar tu percepción cambia tu realidad.

Quien ha limpiado su mirada, ve pureza incluso en el caos.
Quien ha abrazado su sombra, ya no teme la oscuridad del otro.
Quien ha encendido su luz interior, no busca más respuestas afuera.
Y quien ha silenciado su mente, por fin puede oír la verdad.

Claves para la vida práctica:

Reconoce que todos vemos el mundo a través de nuestros propios filtros.
No discutas para imponer tu verdad: busca conexión.
Entrena tu mente para ver unidad, no separación.
Acepta la impermanencia: la verdad no es fija, es evolución.
Desprograma tus creencias limitantes y ábrete a nuevas perspectivas.

¿Y entonces?

Al final, no se trata de tener razón,
sino de aprender a vivir desde la conciencia,
desde el amor,
desde la unidad.

Porque cuando cambias tu ser, cambias tu mundo.

Édouard Manet

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Editorial

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Édouard Manet (1832-1883)

Movimiento Impresionista

El legado de Manet es el de un revolucionario a pesar de sí mismo, un artista que, aunque nunca se consideró un impresionista y aspiró a la aceptación del Salón oficial, se convirtió en una de las figuras más influyentes del arte moderno. Su trabajo sirvió de catalizador y de inspiración para los impresionistas, y su enfoque audaz hacia la representación de la vida contemporánea fue un golpe directo al academicismo de la época.

Su contribución más importante fue su capacidad para confrontar al público con la cruda realidad de la pintura. A través de obras como El almuerzo sobre la hierba y Olympia, Manet no solo rompió con las convenciones temáticas, sino que desafió la forma misma de pintar. En lugar de utilizar las técnicas tradicionales de modelado y sombreado para crear una ilusión de profundidad, aplicaba la pintura de forma más plana, usando contrastes de luz y oscuridad para definir las formas. Sus figuras, como la mujer desnuda en Olympia, no eran diosas o ninfas mitológicas, sino mujeres de la época que miraban al espectador sin vergüenza, lo que resultaba chocante para la sociedad burguesa del siglo XIX.

El legado de Manet es un cambio de paradigma. Su arte demostró que una pintura no tenía que ser una ventana a un mundo idealizado, sino que podía ser una superficie de pintura en sí misma. Sus pinceladas rápidas y su enfoque en temas contemporáneos allanaron el camino para los impresionistas, quienes llevaron su experimentación con la luz y el color un paso más allá. Manet le dio al arte moderno su primer empujón, liberándolo de la narrativa histórica para centrarse en la percepción individual y en la vida tal como es, en toda su complejidad y sin adornos.

Frédéric Bazille

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Editorial

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Frédéric Bazille (1841-1870)

Movimiento Impresionista

El legado de Frédéric Bazille es una historia de potencial truncado y de una influencia que, aunque breve, fue crucial para el nacimiento del Impresionismo. A menudo se le recuerda más por su papel como mentor y anfitrión que por su propia obra, una injusticia poética para un pintor de inmenso talento. Su vida y carrera fueron cortadas de forma trágica y prematura durante la guerra franco-prusiana, a la edad de 28 años.

La contribución más importante de Bazille fue su papel de aglutinador del grupo. Proveniente de una familia acomodada, usó su posición para apoyar a sus amigos, muchos de ellos con grandes dificultades económicas. Su estudio en París se convirtió en el punto de encuentro del futuro grupo impresionista, un espacio donde artistas como Monet, Renoir y Sisley se reunían para pintar, debatir y compartir ideas. Bazille no solo les prestaba dinero o les compraba cuadros, sino que les ofrecía un lugar para vivir y trabajar. Un ejemplo de esto es su cuadro “El estudio de Bazille”, que muestra a varios de sus amigos y a él mismo en su taller, capturando el espíritu de camaradería que forjó el movimiento.

En cuanto a su arte, Bazille combinó la rigidez de la pintura académica con el nuevo enfoque impresionista en la luz y el color. Sus obras se caracterizan por una composición clara y una figura bien definida, a diferencia de las pinceladas más sueltas de Monet. Su legado artístico reside en sus estudios de la figura humana al aire libre, un tema que intentó dominar y que influyó en sus contemporáneos. A pesar de que su carrera duró menos de una década, su apoyo incondicional y su visión le aseguraron un lugar permanente en la historia como el amigo, el anfitrión y el espíritu unificador que ayudó a que el Impresionismo naciera.

Soraya Abu Naba’a Recognized at the 31st Biennial of Modern Art in Santo Domingo

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Multidisciplinary Artist Soraya Abu Naba’a Recognized at the 31st Biennial of Visual Arts at the Museum of Modern Art in Santo Domingo

I have divided my work presented into series that I have worked through my practice. My interest are diverse as well as the mediums I use to channel my concerns ranging from identity, erasure, womanhood, time and space mixing traditional ways of painting with processes and diverse materials….

Soraya Abu Naba’a

The Gary Nader Art Centre is pleased to announce that multidisciplinary artist Soraya Abu Naba’a has been honored at the 31st Biennial of Visual Arts, held at the Museum of Modern Art in Santo Domingo, Dominican Republic, for her installation Palo vivo: Between Roots and Memories.

The work explores the interconnection between community, land, and memory through two elements deeply rooted in Caribbean rural life: the palo vivo and the pelliza. Both, born from necessity and everyday use, are transformed into powerful symbols of regeneration, belonging, and connection to the environment.

Inspired by deep ecology—a philosophical movement that recognizes the intrinsic value of all living beings—the installation combines materials such as fabric, wood, metal, and paint to create an immersive experience. The suspended textile forms evoke an expanded ecosystem in which the boundaries between art, body, and nature dissolve, offering a poetics of repair and belonging.

“I am deeply grateful to receive this award in recognition of an installation that weaves ancestral traditions with a contemporary aesthetic. This honor celebrates not only my creative journey, but also the wisdom of generations that continue to inspire my practice—and serves as a reminder of the profound interconnectedness of the natural world and all living beings”, said Abu Naba’a regarding this recognition.

Gary Nader, founder and director of the Gary Nader Art Centre, added:

“Soraya Abu Naba’a’s work reaffirms the strength of Latin American art as a vehicle of memory, identity, and awareness. This well-deserved recognition amplifies an authentic and powerful voice that honors our roots and invites us to reflect on the future.”

With this award, Soraya Abu Naba’a further consolidates her position within the contemporary art landscape and reaffirms the Gary Nader Art Centre’s commitment to supporting artists whose innovative and relevant proposals contribute to the cultural and social dialogue of our region.

ABOUT SORAYA ABU NABA´A

Born on August 23, 1985, in Melbourne, Florida, Soraya Abu Naba’a was raised in Santo Domingo from the age of two. Her artistic education includes intensive drawing studies at Parsons University, advanced anatomical drawing at Altos de Chavón School, a Bachelor of Fine Arts from the Paris American Academy, and sculptural training at the Accademia di Arti in Florence. With over thirty solo and group exhibitions in cities such as Santo Domingo, Miami, Paris, Shanghai, San Juan, and Amman, her works are part of private collections worldwide. Her multidisciplinary practice—spanning painting, drawing, installation, and mixed media—often incorporates traditional Dominican craft techniques such as the pelliza, and explores themes of identity, memory, motherhood, and ecological connection.

ABOUT GARY NADER ART CENTRE:

Located in Miami’s Wynwood Arts District, the Gary Nader Art Centre is one of the world’s most prestigious and dynamic galleries. With a strong focus on modern and contemporary art, it has gained international acclaim for its groundbreaking exhibitions and its pivotal role in promoting global artistic excellence, with a particular emphasis on Latin American contributions. The gallery regularly hosts solo and group shows featuring iconic artists such as Basquiat, Botero, Chagall, Cruz-Diez, Dubuffet, Kahlo, Picasso, Rivera, Lam, Warhol, and many more.

As the largest gallery in the world — spanning 55,000 square feet — the Gary Nader Art Centre houses a main exhibition hall, the Nader Museum, the immersive Botero Immersed Experience (featuring the world’s largest private collection of works by the Colombian master), and the Nader Sculpture Park, located in the Miami Design District. This one-of-a-kind outdoor exhibition space features over 50 monumental sculptures by renowned international artists. In a short time, it has become a cultural must-see for both locals and tourists and a premier venue for fashion shows, musical performances, cultural events, and private gatherings.

With a private collection of more than 2,000 artworks from the 20th and 21st centuries, the Centre offers an expansive and profound perspective on global modern and contemporary art. Founded by Gary Nader in 1985, the gallery has become a cornerstone of Miami’s art scene. Nader’s vision and dedication have been essential in building the Centre’s global reputation and expanding its impact on the international art world.

For more information:

Gary Nader Art Centre

Email: [email protected]

Phone: 305-576-0256

Web: www.garynader.com

Minimalism and Geometric Abstraction in Latin America

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Editorial

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Minimalism and Geometric Abstraction in Latin America

Historical Roots & Evolution

Geometric Abstraction emerged strongly across Latin America between the 1930s and 1970s. It represented a decisive break from academic figurative styles, embracing simplified forms, objective structures, and often monochromatic palettes Pressbooks Los Angeles Times.
Uruguay’s Joaquín Torres-García pioneered “Constructive Universalism,” blending European geometric abstraction with Pre-Columbian pictographs to forge a universal, culturally resonant language Pressbooks.
In Argentina, Asociación Arte Concreto-Invención (founded in 1944) and Arte Madí focused on art of pure geometric abstraction, balancing theory, design, and utopian ideals Swann Galleries.
Brazil’s Neo-Concretism, as led by artists like Lygia Clark and Hélio Oiticica, expanded minimalism toward participatory, sensory experiences Swann Galleries.

Key Latin American Minimalist Artists

Carmen Herrera (Cuban-born, b. 1915): Gained international recognition late in life for her rigorous, colorful minimal works. Her abstract compositions are celebrated for their clarity and precision Wikipedia mcallen.libguides.com.
Iran do Espírito Santo (Brazil, b. 1963): Known for meditative minimalist sculptures using industrial materials—steel, glass, plaster—that transform everyday forms into spaces of calm and purity Wikipedia.
Carla Arocha (Venezuela, b. 1961): Merges geometric abstraction with minimalist aesthetics. Her work balances restraint with ornamental detail, often drawing from Venezuelan traditions Wikipedia.
Other notable figures include Miguel Ocampo (Argentina), whose minimal, monochromatic canvases reflect geometric elegance born from his involvement with the Madí movement Wikipedia.

Broader Impact and Legacy

MoMA’s 1993 exhibition Latin American Artists of the Twentieth Century featured pivotal abstract and kinetic artists such as Lygia Clark, Gego (Venezuela), Jesús Rafael Soto, and Cruz-Diez, underscoring the region’s deep contributions to minimalism and conceptual art The Museum of Modern Art.
The Colección Patricia Phelps de Cisneros, later donated to MoMA, includes works by Clark, Gego, Oiticica, and Soto, and forms the basis for the exhibition Sur moderno: Journeys of Abstraction—a sweeping survey of Latin American abstract modernism Ideelart.
Art institutions like the Museum of Modern Art in Medellín (MAMM) have held seminars specifically examining Minimalism’s influence in Latin America, emphasizing its role in reshaping viewer-space dynamics artealdia.com.

Summary Snapshot

Artist/Group	Country	Contribution to Minimalism/Geometric Abstraction
Joaquín Torres-García	Uruguay	Constructive Universalism, merging geometry with ancient symbols
Asociación Arte Concreto	Argentina	Pure geometric abstraction rooted in utopian ideals
Neo-Concretism (e.g., Lygia Clark, Oiticica)	Brazil	Sensory and participatory expansion of minimalist ideas
Carmen Herrera	Cuba/USA	Late-celebrated minimalist painter with vibrant minimal clarity
Iran do Espírito Santo	Brazil	Meditative minimalist sculptures from industrial materials
Carla Arocha	Venezuela	Minimalism infused with pattern, ornament, and geometric nuance
Gego, Soto, Cruz-Diez	Venezuela	Leaders in kinetic and optical minimalist abstraction

The Latin American minimalistic movement wasn’t just influenced by its U.S. and European counterparts—it helped define a global trajectory of modern art. The region’s artists brought precision, cultural depth, and a unique blend of abstraction that continues to enrich contemporary visual culture.

Edgar Degas

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Editorial

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Edgar Degas (1834-1917)

Movimiento Impresionista

El legado de Edgar Degas es singular y, en muchos sentidos, se distancia del de sus contemporáneos impresionistas. Aunque a menudo se le asocia con el movimiento por su fascinación con la vida moderna y sus innovadoras técnicas, Degas no buscaba capturar la luz y el color en el mismo sentido que Monet o Renoir. Su obra es un estudio riguroso de la figura humana en movimiento y una exploración del espacio y la composición.

Su contribución más importante al arte fue su audaz enfoque en el realismo de la vida moderna. Degas, a diferencia de otros, no pintaba al aire libre; prefería la luz artificial de su estudio y los interiores de los teatros, cafés y burdeles. Su obsesión era capturar el movimiento de forma espontánea y genuina. Se le conoce, sobre todo, por sus representaciones de bailarinas de ballet. A través de sus pasteles, óleos y esculturas, no solo capturó la gracia del baile, sino también el esfuerzo, el cansancio y los momentos detrás del escenario.

Degas revolucionó la composición al adoptar ángulos de cámara inusuales, recortes de figuras en los bordes del lienzo y la asimetría, técnicas que reflejan la influencia de la fotografía y las estampas japonesas. Este enfoque, donde la escena parece ser un instante capturado al azar, le dio a su trabajo una sensación de vida y dinamismo. Aunque se le considera un impresionista, su legado perdura en la forma en que aplicó un rigor casi clásico a la observación de la vida contemporánea, allanando el camino para el realismo del siglo XX y la fotografía moderna.

dreams without riders

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Editorial

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dreams without riders

an exploration of control, featuring zero control

Brigette Hoffman

september 6 – october 4, 2025

7338 nw miami ct, miami fl

Brigette Hoffman’s solo exhibition, ‘dreams without riders : an exploration of control, featuring zero control,’ reflects on the fragile boundary between steering and being steered. Riderless bicycles and circus imagery speak of systems that move without our consent, cycles that repeat regardless of intent. The wheel turns because the wheel turns. We are carried forward, both passengers and participants, often without seeing who built the road.

Carl Jung’s theory of the unconscious sees these movements as arising from a deeper source, the Self, which shapes our path through dreams, symbols, and archetypes. Dolores Cannon extends this vision, suggesting that we are not only shaped by hidden currents but also their architects, capable of altering the design. Yet in the public realm this creative power collides with Guy Debord’s The Society of the Spectacle, where reality is replaced by its image and the machinery of culture, politics, and economy writes the scripts we perform.

The circus in dreams without riders is more than metaphor. It is a mirror of a world where leaders fall away, institutions drift, and events move under the momentum of systems long set in motion. The spectacle delights and distracts, but also contains, making us believe we are steering when in truth the route was charted elsewhere.

And still, beneath the stage lights and the masks, there is the Self, the divine spark that watches, waits, and moves in its own rhythm. Recognizing it is an act of resistance, a way of reclaiming authorship from the spectacle.

This work asks us to see the tension clearly: we are riders and bicycles, actors and authors, creators and creations, caught in the uneasy beauty of surrendering to forces larger than ourselves while daring to reshape the world that carries us. The bicycles circle. The patterns repeat. And within the turning, we may find the courage to take the road back into our own hands.

-curated by homework

Brigette Hoffman is a German-Nicaraguan artist based in Miami. She earned her BFA from The Academy of Fine Arts (HFBK) Hamburg, Germany, in 2020. Hoffman’s artistic practice spans painting, sculpture, installation, and physical animation. Her work draws from various inspirations, weaving together elements of her personal journey, emotions, and character portrayals.

Believing strongly in art’s ability to communicate independently, Hoffman’s creations serve as silent storytellers, inviting viewers to engage with their narratives. Her art explores themes of childhood imagination, the artist’s exploration, and spirituality. Using a diverse range of materials and techniques, her installations offer surreal representations filled with raw symbolism.

In her creative process, Hoffman instinctively brings characters to life as sculptures or animated figures, each embodying a unique muse. This process feels akin to tapping into a divine source, as her sculptures inhabit worlds filled with vibrant colors and ethereal light, providing a break from the mundane aspects of everyday life. Through her paintings, Hoffman reveals the landscapes from which these sculptures emerge, capturing realms where colors dance freely and gravity seems to have less weight.

“Retorno” by Miquel Salom

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“Retorno” by Miquel Salom

By Deering Estate

The Deering Estate presents RETORNO, a retrospective survey of Miquel Salom’s wet plate collodion ICTUM OLIM VI series.

Date and time

Sunday, September 7 · 3 – 5pm EDT

Location

Deering Estate16701 Southwest 72nd Avenue Miami, FL 33157Get directions

Good to know

About this event

The Deering Estate presents the Contemporary Currents 2025 exhibition series with the exhibition “Retorno” by Miquel Salom

The Deering Estate ‘Contemporary Currents’ series is an annual program that integrates contemporary art with collections and historic houses. Artists are selected from the roster of past and current Artists-in-Residence at the Deering Estate to display their work on the second floor of the Richmond Cottage for a three to six-month period.

For the upcoming exhibition, the Deering Estate will feature Retorno, a retrospective survey of 2018 Artist-in-Residence Miquel Salom’s ICTUM OLIM VI … tempus fugit…. The exhibit includes a series of wet plate collodion photographs produced in situ while documenting the natural and built environments of the Deering Estate. Retorno will showcase an expanded study of Salom’s earlier work alongside an assortment of ephemera that illustrate the artist’s technical process and traces key moments in a dynamic career. Installed in The Garden Room, a historic space in the Richmond Cottage at the Deering Estate, Retorno will be on view from August 1 to October 31. An artist reception and free screening of the winner of three Telly Awards documentary Miquel Salom: Back to the Origin, followed by a conversation with the artist facilitated by Executive Producer, Marcelo Llobell and Director, Isaac Bencid will take place on Sunday, September 7th. The artist reception and cocktail hour is from 3 to 4 pm at the Richmond Cottage; the documentary screening and artist talk is from 4 to 5 pm at the Visitor Center Theatre.

All ages welcome

About the Artist:

Miquel Salom was born in the Mediterranean island of Mallorca in 1951. At the age of 14, his father gave him a Kodak Brownie Fiesta camera, and this changed his life igniting his lifelong artistic dedication to photography. Salom was largely self-taught and continues to publish, teach and lecture on photography. His work connects his personal observations with romantic narratives he has uncovered through his years of travel and exploration. He identifies as a visual storyteller through his mastery of the wet-plate collodion technique, a photographic process he became acquainted with through the work of Sally Mann. Salom has developed a signature 23-step process that allows him to create unique ambrotypes and tintypes of various subjects including the south Florida and Mallorcan landscapes, cityscapes and coastlines. His work joins contemporary artists exploring the revival of this alternative process and its unique handcrafted signature.

With an established international presence, Miquel Salom’s work has been exhibited in New York, Washington DC, New Mexico, Spain, Germany, Hong Kong, Singapore and Mallorca. Locally, Salom has exhibited at the Coral Gables Museum, the University of Miami Art Gallery in Wynwood and the Miami Institute of Photography. Previously, Salom served as Visiting Artist of the Art & Art History Department at the University of Miami.

About the Deering Estate Deering Estate, located at 16701 SW 72 Ave. in Miami, is a 21st Century house museum, cultural and ecological field station, and a national landmark listed on the National Register of Historic Places, owned by the State of Florida and managed by Miami-Dade County Parks, Recreation and Open Spaces Department. Deering Estate is designated as one of seven Miami-Dade County “Heritage Parks” which have a vital role in our community’s history, environment and in providing recreational and cultural experiences.

Cultural Arts Programming at the Deering Estate is made possible with the support of the Miami-Dade County Department of Cultural Affairs and the Cultural Affairs Council, the Miami-Dade County Mayor and Board of County Commissioners, and The Deering Estate Foundation, Inc.

About the Deering Estate Foundation For those who treasure the Deering Estate, who advocate for its preservation and wish to invest in its future, The Deering Estate Foundation provides opportunities for individuals and corporations alike to partake in membership, signature events, and one-of-a-kind experiences, all in service of providing vital funding and support to the Deering Estate. Through these efforts, the foundation fulfills its mission to uphold the legacy of Charles Deering’s cherished 1920s-era property, to provide funding for the cultural, educational and recreational experiences it offers, as well as its significant scientific and archaeological endeavors to conserve its diverse flora, fauna and the eight native ecosystems that thrive on its 450 acres, and to ensure its longevity as a prized American heritage site. Established in 1989, The Deering Estate Foundation, Inc. is a community-based charitable 501(c) 3 Florida Corporation and the philanthropic partner of the Deering Estate.

To request materials in accessible format, sign language interpreters, CART and/or any accommodation to participate in any Miami-Dade Parks-sponsored program or meeting, contact Gisel Prado at 305-755-7848 or [email protected], at least 7 days in advance to initiate your request. TTY users may also call 711 (Florida Relay Service).

Books Are Burning by Rubén Torres Llorca

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Editorial

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Aluna Art Foundation Presents

Books Are Burning

Solo Exhibition by Rubén Torres Llorca
Opening Reception
Saturday, September 6, 2025 | 7:00 PM
Aluna Art Foundation at The Tower Art Space
1444 SW 7th Street, Miami, FL 33135 (Little Havana)

Aluna Art Foundation, in collaboration with elespacio23 and the Barlington Group, is proud to launch Books Are Burning, a compelling solo exhibition by the acclaimed Cuban artist Rubén Torres Llorca. The opening reception will take place Saturday, September 6, 2025, at 7:00 PM at The Tower Art Space in Little Havana.

This marks Torres Llorca’s first solo showing at this historic venue, offering an intimate exploration of themes such as history, literature, and cultural power structures, interwoven with personal threads of love, memory, and identity. Through this lyrical exhibition, the artist invites viewers to reflect on the ways narratives are created, destroyed, and reshaped over time.

Event Details:

Opening Reception: Saturday, September 6, 2025
Time: 7:00 PM
Venue: The Tower Art Space, 1444 SW 7th Street, Miami, FL 33135
Neighborhood: Little Havana

Note to Attendees: Due to limited parking in the neighborhood, we strongly recommend using ride-share services such as Uber or Lyft to attend the event.

About the Artist

Rubén Torres Llorca is a celebrated Cuban visual artist known for his rich narrative style that blends personal autobiography, literary references, and historical commentary. His work has been featured in numerous international exhibitions and is recognized for its layered, poetic lens on identity and cultural memory.

About Aluna Art Foundation

Aluna Art Foundation supports innovative, cross-disciplinary art initiatives that open dialogue around culture, heritage, and transformation. By partnering with institutions like elespacio23 and the Barlington Group, the Foundation curates immersive exhibitions that engage and challenge audiences.

Media Contact:
Aluna Art Foundation
Email: [email protected]
Instagram: @alunaart ✦ @elespacio23

Art Miami MagazineArt Miami Magazine

Art Miami MagazineArt Miami Magazine

Eugène Boudin (1824-1898)

Movimiento Impresionista

Vivir en Conciencia de Unidad con el Universo

¿Qué hace el SAR?

La realidad es un espejo

¿Qué significa vivir en conciencia de unidad?

Claves para la vida práctica:

¿Y entonces?

Édouard Manet (1832-1883)

Movimiento Impresionista

Frédéric Bazille (1841-1870)

Movimiento Impresionista

Multidisciplinary Artist Soraya Abu Naba’a Recognized at the 31st Biennial of Visual Arts at the Museum of Modern Art in Santo Domingo

Minimalism and Geometric Abstraction in Latin America

Historical Roots & Evolution

Key Latin American Minimalist Artists

Broader Impact and Legacy

Summary Snapshot

Edgar Degas (1834-1917)

Movimiento Impresionista

dreams without riders

“Retorno” by Miquel Salom

Date and time

Location

Good to know

About this event

Aluna Art Foundation Presents

Books Are Burning

About the Artist

About Aluna Art Foundation

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