ENLACE ARTE CONTEMPORÁNEO Gallery (Av. Pardo y Aliaga 676, San Isidro) announces the opening of the solo painting exhibition HOMBRE AL AGUA by ROBERTO GONZÁLEZ, this April 18 at 7.30 p.m. The artist will be present at the exhibition. This is a selection of around fifteen medium-sized paintings, made using acrylic on canvas. The general theme of Roberto González’s oeuvre is the human being: the lone man as individual, but also, and especially, in his social dimension, transcending his individuality and becoming the social entity that he is, understood in the most generalized and overall form possible. Aristotle’s definition of man as a political animal has been oft repeated, taking into account the Greek term politikonfrom polis = city, state, since, according to the philosopher from Stagira, man is by nature a social animal. González’s works speak of human beings’ shared experiences: joys and sorrows, alienation and longing. Whether in multitudes great or small, or all alone, man interacts in his works with some everyday object, although rendered in giant proportions, or offering a contrast in its context or use, thus taking on a symbology that leads the spectator to an underlying idea or notion, or at least helps him to feel it intuitively. This disproportion or oversizing of the object is born of the artist’s desire to emphasize that ideas or social and other phenomenona are often larger than the individual, surpassing him. In this way, the object takes on the leading role as a signifying image charged with meaning, turning into a type of resource or contrivance to lure the spectator into the structural framework of the work’s sensation or idea. Thus, what happens is a process of signalization: the work lures, signals, and even acts as a call to take care of and pay attention to existential themes of the human collective in the face of our current excess and voracity. This brings us to the title of the series of works that makes up this solo show, the shout of alarm ‘Man overboard!’ This title may seem paradoxical, but it is emblematic, with multiple meanings for an island inhabitant. One example of this may be seen in the work ‘Esencia’ (‘Essence’), in which a group of people of different social classes, credos, and races are crammed into an old coffee strainer (sharing a common destination? Becoming homogenized? Distilling their essence?). The strainer is used to filter or extract the essence of the cultivated grain: flavor, color, aroma. In our case, these people allude to the fact that the most important thing is their essence and not where they come from, their differences and all the rest of it. The strainer becomes an element that channels multiple connotations regarding the underlying ideas or notions of the piece. González’s works lead or invite us to reflect on our ideas about what it means to be human, our shared essence and destination as a community. Along these same lines, one highly emblematic work is ‘Cultivadores de vuelos’ (‘Cultivators of Flights’). (Roberto Ascóniga, 2012). Roberto González (Havana, Cuba,1972)is a member of the Cuban National Union of Writers and Artists (UNEAC). He graduated from the Instituto Politécnico de Diseño Industrial in 1993. His work has been exhibited in different solo shows, including “Vieja, pero Habana” (“Old, but Still Havana”) Museo de la Ciudad, Havana, Cuba (1999); “Intramuros” (“Within the Walls”) Convento San Francisco de Asís, Havana, Cuba (2001); “Atrapando el Ingrediente” (“Trapping the Ingredient”), Museo de las Américas, San Juan, Puerto Rico (2002); “Cada loco con su vuelo” (“Every Madman on His Own Trip”), Plaza Kukulcan, Cancun, Mexico (2006); “Isla” (“Island”), La Acacia Gallery, Havana, Cuba (2008); “La otra mirada” (“The Other Gaze”), Galería Espacio 304, Hato Rey, Puerto Rico (2008); “Historias cotidianas” (“Everyday Stories”), presented at the Sala Lam of the Diplomatic Office of Cuba in Bonn; at the gallery Havanne, Bremen, Germany; and at the gallery Artana Latin American Fine Art, The Hague, Holland (2010). He has also participated in group exhibitions in countries such as Cuba, Panama, Belize, Puerto Rico, Mexico, the United States, Colombia, Germany, Holland, and Malaysia. His work is held in the permanent collection of the Office of the Historian of the City of Havana, and private collections in United States, Puerto Rico, Panama, Argentina, Dominica Republic, Spain, Portugal, France, Japan, Germany, Australia, Belgium and Holland.