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The work of Cuban visual artist and photographer Laura Capote Mercadal is traveling for the first time beyond the borders of the Caribbean island, showcasing the exhibition "Tramas," which is available at the Salón Gallos in Mérida until December 31.
In a series of ten snapshots, Capote Mercadal (Havana 1991) revisits the image of braided hair as a distinctive element of his artistic vision and a symbol to recreate a narrative surrounding the female body.
In statements to CiberCuba, she explained that she used the first braid she cut since moving to Mexico and photographed it on different parts of her own body to "create fragmented narratives with the female body and the braid as central elements."
"I have kept the braids that I have cut off throughout my life. I have two braids saved at my home in Cuba, including my first childhood braid; another one I sold. This is the first braid I have cut here in Mexico after almost ten years," explained Capote Mercadal in statements to the magazine El Estornudo.
During the exhibition opening on December 6, curator Michel Mendoza emphasized that in the artist's works, "the stitches, the punctum, the tear, and the details matter more than the morals or conclusions."
The braids in her photographs transcend being merely a symbol of oppression or eroticism, becoming enigmatic elements that, according to Mendoza, can appear "like a mask, the symbol of a monstrous becoming, or sometimes, like a piece of flesh or a strange, unknown animal."
The Salón Gallos de Mérida, an important exhibition space featuring an invitation-only program for artists, curators, galleries, and institutions, hosts Tramas – the first solo exhibition by the photographer held outside of Cuba – from December 7 to 31.
Capote Mercadal, who holds master's degrees in Management and Preservation of Cultural Heritage from the Colegio de San Gerónimo in Havana (2019) and in History from El Colegio de San Luis, Mexico (2022), has lived in Mexico for 10 years.
The young artist has participated in several group exhibitions and has presented personal projects in Cuba, including Infraestructura (2012; Provincial Center of Plastic Arts and Design, Havana); Fiebre de ti (2012; “Concha Ferrant” Gallery, Havana); Propuesta (2013; Open Doors Gallery, Belén Community Cultural Center, Havana); Dual (2015; “Servando Cabrera Moreno” Gallery, Havana; Salon del Monte, Ambos Mundos Hotel, Havana); Retrospectiva (2015; Historical Phototec of the OHC); Adentro (2016; Cuban Art Factory, Havana); and Entre la Lucha y la Lima (2019; a two-person exhibition with Enzzo Hernández at the Villalobos Studio-Workshop, Havana).
Frequently Asked Questions about Laura Capote's Exhibition in Mexico
Who is Laura Capote and what is the theme of her exhibition in Mexico?
Laura Capote is a Cuban photographer and visual artist who has opened her first exhibition outside of Cuba at the Salón Gallos in Mérida, Mexico. The exhibition, titled "Tramas," showcases a series of ten photographs focused on the image of braided hair, a recurring element in her visual narrative.
What significance do braids have in the work of Laura Capote?
In Laura Capote's work, braids transcend being merely an aesthetic object. According to curator Michel Mendoza, the braids in her photographs serve as enigmatic elements that can appear as a mask, a symbol of a monstrous transformation, or even as a piece of flesh or a strange animal. They become a symbol of the fragmented narrative of the female body and its personal evolution.
Where and until when can the exhibition "Tramas" by Laura Capote be visited in Mexico?
The exhibition "Tramas" can be visited at the Salón Gallos, located in the Parque de la Mejorada in Mérida, Mexico, until December 31, 2024. This venue is known for its exhibition program that invites artists and curators to showcase their projects.
How has Laura Capote's experience in Mexico influenced her artistic work?
Laura Capote has explained that her experience of living in Mexico has been significant for her work, as the first braid she cut in that country after nearly ten years became a central element of her exhibition. This personal experience has allowed the artist to create fragmented narratives that explore the relationship between her body and the braids, symbolizing her evolution and change away from Cuba.
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