María Magdalena Campos-Pons

María Magdalena Campos-Pons,  Freedom Trap , c. 2013, Polaroid Polacolor Pro 24 x 20 photograph, 24 x 20 inches (60.7 x 50.8 cm)

María Magdalena Campos-Pons, Freedom Trap, c. 2013, Polaroid Polacolor Pro 24 x 20 photograph, 24 x 20 inches (60.7 x 50.8 cm)


“I claim space for women's issues, collecting and telling stories of forgotten people, in order to foster a dialogue to better understand and propose a poetic, compassionate reading of our time. My work over the past 35 years addresses Postcoloniality and the complexities that entangle the narratives, connections and mutual dependency of the North and the South. My work speaks to an ancestral knowledge and tradition to give a voice to the darkest narratives with grace and aesthetic elegance. Fragility, ephemerality, and a transient quality of time and place are visible components in my vocabulary, which I explore through video, film, photography, installation, and performance. I am compelled by the democratic process of art-making that challenges the participation, presence, and bodily immersion of the viewer.”

María Magdalena Campos-Pons was born in in 1959 in the province of Matanzas, in the town of La Vega, Cuba. She grew up on a sugar plantation in a family with Nigerian, Hispanic and Chinese roots. Her Nigerian ancestors were brought to Cuba as slaves in the 19th century and passed on traditions, rituals, and beliefs. Her polyglot heritage profoundly influences CamposPons’ artistic practice, which combines diverse media including photography, performance, painting, sculpture, film, and video. Her work is autobiographical, investigating themes of history, memory, gender and religion and how they inform identity. Through deeply poetic and haunting imagery, Campos-Pons evokes stories of the Trans-Atlantic slave trade, indigo, and sugar plantations, Catholic and Santeria religious practices, and revolutionary uprisings.

In the late 1980s, Campos-Pons taught at the prestigious Instituto Superior de Arte in Havana and gained an international reputation as an exponent of the New Cuban Art movement that arose in opposition to Communist repression on the island. In 1991, she emigrated to Boston, where she continues to live and work. She has had solo exhibitions at the Museum of Modern Art in New York, the Indianapolis Museum of Art, the Peabody Essex Museum, and the National Gallery of Canada, among other distinguished institutions. She has presented over 30 solo performances commissioned by institutions including the Guggenheim and The Smithsonian’s National Portrait Gallery. She has participated in the Venice Biennale, the Dakar Biennale, Johannesburg Biennial, Documenta 14, the Guangzhou Triennial and is included in Pacific Standard Time: LA/LA and Prospect.4 Triennial. In October 2017 she will receive the endowed Cornelius Vanderbilt Chair at Vanderbilt University in Nashville, Tennessee. She was also selected to serve as Artist-Curator for the 2019 Havana Art Biennial in Cuba.

Campos-Pons’ works are in over 30 museum collections including the Smithsonian Institution, The Whitney, the Art Institute of Chicago, the National Gallery of Canada, the Victoria and Albert Museum, the Museum of Modern Art, New York, The Museum of Fine Arts, Boston, the Perez Art Museum, Miami and the Fogg Art Museum.

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