Contemporary Cuban artist Dagoberto Rodríguez makes his NFT exclusive solo show debut in Piero Atchugarry Gallery’s Viewing Room, exhibiting Otro Mundo II & III ahead of Miami Art Week.

Dagoberto Rodríguez, together with composer Joan Valent, bring the artist’s iconic watercolors to life, transporting viewers through a simulation of futuristic tunnels.

Piero Atchugarry Gallery is pleased to announce Otro Mundo (Another World), contemporary Cuban conceptual artist Dagoberto Rodríguez’s inaugural non-fungible token (NFT) exclusive exhibition in Miami. Known for his large-scale futuristic watercolor paintings, Rodríguez ups the ante with an immersive experience that draws viewers into his imagined world—entirely produced from his watercolor tunnel series. Accompanied by a musical element by Majorcan composer Joan Valent, the simulations depict dreamlike futuristic architecture of a possible tomorrow. Dagoberto Rodríguez Sanchez was born 1969 in Caibarién, Las Villas and graduated from Instituto Superior de Arte (ISA), La Habana, Cuba in 1994. Upon finishing his Arts degree in 1994, he spent another three months of compulsory military service. In 1992 he co-founded the historic artistic collective Los Carpintero (1992-2018) . Currently working between Madrid and Havana, Rodríguez combines architecture, design and sculpture, using humor and irony to express himself on core themes in art, politics and society. His work is in permanent collections of major institutions such as MOMA, Whitney Museum of American Art, Guggenheim in New York, Centre Georges Pompidou in Paris, Tate Modern in London and Museo Centro de Arte Reina Sofia in Madrid among others.

Otro Mundo (Another World), convincingly transports viewers through a series of tunnels built of legos that are neither here nor there, lacking all sense of location, without any indication of a beginning or end. These simulations exude a dystopian atmosphere of sorts, without the slightest trace of humanity. To quote, Jérôme Sans, “Dagoberto Rodríguez creates ultra-contemporary and urban narratives of a mechanical, cold and dehumanized world bathed into an electric light ... A kind of outside world, closed in itself, enigmatic, without landmarks and of which we do not know if it is dreamlike, dystopic or concrete.” Otro Mundo (Another World) sets forth a series of questions about futuring through the act of simulation that encourages a strong force of attraction towards the depths of nowhere, but a potential somewhere.

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