YOAN CAPOTE (b. 1977)
1) sculpture
signed, dated and titled 'Capote, 04, Casados' (near base)
leather, wood and shoe laces
Height: 4 in. (10.2 cm.)
Width: 32 in. (81.3 cm.)
Depth: 10 in. (25.4 cm.)
dimensions variable when installed

2) drawing
signed, dated and inscribed 'Capote 04, For Howard Farber always grateful' (lower left); titled 'Married' (upper center)
charcoal on paper
6 x 9 in. (15.2 x 22.9 cm.)
Executed in 2004.
Two in one lot.
George Adams Gallery, New York.
Acquired from the above by the present owner.
C. Prisant, "Lounging at Longhouse: Carol Prisant Visits a Benchmark Exhibition," The World of Interiors, September 2004, p. 106.
George Adams Gallery, "Yoan Capote: Animica," ArtNews, vol. 103, no. 10, November 2004 (illustrated, p. 34).
M. Martell, "Yoan Capote at George Adams Gallery," ArtNexus 3:56, 2005, pp. 154-155.
D. Vázquez, "Yoan Capote: La constante mutacion de los objetos," Revista de artes visuales: Artecubano, 10 años de arte cubano, 2/2005 (illustrated, p. 47).
New York, George Adams Gallery, Yoan Capote: Animica, November-December 2004.
Gainesville, Florida, Harn Museum of Art; Sarasota, Florida, John & Marble Ringling Museum of art; Eugene, Oregon, Jordan Schnitzer Museum; Manitoba, Canada, Winnipeg Art Gallery; Coral Gables, Florida, Lowe Art Museum; Katonah, New York, Katonah Museum of Art, Cuba Avant-Garde: Contemporary Cuban Art from the Farber Collection, May 2007- September 2010, pp. 67-68 (illustrated, p. 67).
Brought to you by

Lot Essay

Among Cuba’s foremost conceptual artists, Capote has cultivated a multimedia practice in which poignant, material metaphors convey the vicissitudes of human and psychic experience. Raised in the western province of Pinar del Río, he studied at the Instituto Superior de Arte under René Francisco from 1996 to 2001. Since his acclaimed collaboration with the collective DUPP at the Seventh Havana Biennial (2000), Capote has exhibited widely and represented his country in the Venice Biennale’s first Cuban pavilion (2011). His work encompasses sculpture, installation, and performance, often repurposing familiar and found materials—as in Casados—with political and psychological irony.
In Casados, Capote reflects on the nature of marriage, figured here in two pairs of life-sized brown leather shoes, a man’s wingtip and a woman’s sandal. The two right shoes are conjoined by an extended length of brown leather; the left shoes stand apart. An absurdist allegory of marriage, Casados simultaneously binds and separates the pairs: they can neither escape the other nor consummate their relationship, remaining instead in a state of eternal limbo. Casados II, a variation that features two pairs of men’s shoes, is part of the Daros Latinamerica Collection.
Abby McEwen, Assistant Professor, University of Maryland, College Park

Related Articles

Sorry, we are unable to display this content. Please check your connection.

More from
Latin American Art Online
Place your bid Condition report

A Christie's specialist may contact you to discuss this lot or to notify you if the condition changes prior to the sale.

I confirm that I have read this Important Notice regarding Condition Reports and agree to its terms. View Condition Report