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J U R O R ' S   I N F O



a d r i a n o  

b u e r g o

Adriano Buergo is a Cuban artist born in Havana who is currently Miami based. He completed his art studies at the Instituto Superior de Arte in Havana, Cuba, in 1988. Together with four other artists, he founded the art group known as Puré.

Adriano Buergo has had several solo exhibitions in the United States and abroad. These have included Roto expone, Castillo de la Real Fuerza, Havana, Cuba, Del ambiente, Wifredo Lam Center, Havana, Cuba, Ana Albertina & Adriano, Nina Menocal Gallery, Mexico City, Mexico. He also participated in numerous group exhibitions in Europe, Latin America and the United States such as Kuba OK, Stadtische Kunsthalle, Düsseldorf, Germany, No Man Is an Island, Pori Museum of Fine Arts, Finland, and Mücsarnok, Budapest, Hungary, and Palffy Palace,Vienna, Austria, Los hijos de Guillermo Tell, Artistas cubanos contemporáneos, Museo de Artes Visuales Alejandro Otero, Caracas, Venezuela, Tradición y contemporaneidad, III Bienal de La Habana, Museo Nacional de Bellas Artes, Havana, Cuba, Kitsch, Galería de Galeano, Parallel Exhibition to Havana’s III Biennial of Art. Havana, Cuba, Breaking Barriers: Selections from the Museum of Contemporary Cuban Art Collection, Museum of Art, Fort Lauderdale, Florida, Muro Roto, Fred Snitzer Gallery, Miami, Florida and Unbroken Ties, Dialogue in Cuban Art, Museum of Art Ft. Lauderdale, Florida.

Today his works are included in such major collections as the Peter Ludwig, Aachen Museum, Aachen, Germany, Museo Nacional de Bellas Artes, Havana, Cuba, Museum of Contemporary Art, North Miami, Florida, The Lowe Art Museum, University of Miami, Miami, Florida, Museum of Art Fort Lauderdale, Florida.

The work of Adriano Buergo, engages socio-cultural themes which, in his work, gave birth to a rather peculiar character: a bricollage domestic fan which the artist christened with the name Roto (Broken). Roto became the icon of the struggle for survival in an environment plagued with material privation and contradictions of the spirit. Nonetheless, Roto is still capable of adaptating to the challenges of his daily existence and to yearn for them, allowing the viewer to witness a process of transcendence. When time does not detain a narrative it is because this narrative feeds off its present condition, and Roto 09 is an expression of this.

He is always seeking to remake himself in order to delve into new aspects of his reality.

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