Rubén Torres Llorca (1957) is a Cuban artist specializing in painting, drawing, sculpture, collages, and photography. He graduated from the San Alejandro Art Academy in 1976 and from the Instituto Superior de Arte in 1981. His work has been included in numerous exhibitions and biennials and is part of important private and public international collections.
Torres Llorca's work is completely part of a project to "shape" the world, influenced by the artistic avant-garde of the 1920s, but also by the conceptual approach of Magritte or the anti-aesthetic sensibility of Beuys. The protean nature of his work defies any attempt to classify it. His penchant for blurring the boundaries between different artistic media such as painting, drawing, collage, objects, sculpture, installation; its symbolic use of heterogeneous natural materials such as wood, textiles, paper, cloth, clay, rope; his defense of an interdisciplinary between the arts; they imply an implicit questioning of the role that the artist plays today and of the status of the work of art in our society.
One of the central axes of his work is the work of memory; manipulating historical and sociological matter in a fictional way, he constitutes a mythical construction enterprise whose origin is the totalitarian culture in which he grew up. Torres Llorca's art is political, in its philosophical sense; it is a manifestation of freedom, it creates the conditions for an experience of liberation, an engine of self-determination. Likewise, he assigns to art the mission of transforming the meaning of language and concepts: he is interested in the conformation of these attempts to express thought as something plastic.
The work of Rubén Torres Llorca is a sensitive experience that materializes the energy of thought in order to awaken the viewer's capacities for perception and reflection. He is one of the most emblematic and influential Cuban artists of the last forty years, since he experiments and innovates without ceasing, problematizing, questioning and regenerating the formal and the conceptual. He shares the Nietzschean vision of art as revealer, revealer, deconstructor and interpreter of man, of modern culture and society.
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| Rubén Torres Llorca |
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| Te Llevo Bajo Mi Piel, 1984 |
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| Ya No Te Espero, (I'm Not Waiting For You Anymore), 1990 |
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The Mirror Mistake, 2003
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| Will My Art Dealer..., 2003 |
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| American Kamikaze, 2005 |
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| Make Me A Mask, 2005 |
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| Mirror, Mirror, 2005 |
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| Political Speech, 2005 |
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| The Cultural Logic of Late Capitalism, 2007 |
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| Exacalibur and The Eclipse, 2008 |
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| Hansel and Gretel Are Lost, 2011 |
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| One of us can be wrong and other essays, 2012 |
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| Time to Buy Cuban Art, 2015 |
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| Another Chance to Buy Cuban Art, 2019 |
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| Handmade Cuban Art, Buy With Confidence, 2019 |
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| Someday my Collector Will Come, 2019 |
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Idols of the Global Tribe , Cuban Art for Sale, 2020
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| Make Your Mother Proud, 2020 |
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| Another Door Is Open, 2022 |
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| Stone Skipping Across Water, 2022 |
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| All The Better to See You, 2023 |
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| Diptych, Figure 1, 2023 |
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| Immaculate Craft, 2023 |
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| Immaculate Craft, 2023 |
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| Immaculate Craft, 2023 |
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| Mirar La Vida en Blanco y Negro, 2023 |
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| Our Daily Coffee, 2023 |
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| Starving Lion Looking For An Art Collector, 2023 |
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| Drop by Drop, 2024 |
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