Belkis Ayón

Belkis Ayón studied at Academia Nacional de Bellas Artes San Alejandro. The field of work recorded is collagraphy. Residence is recorded at Havana. Work by Belkis Ayón is recorded in the collections of Tate, Museum of Modern Art, National Museum of World Cultures, CODA Museum and Pérez Art Museum Miami.

• Name — Belkis Ayón • Born — 23 January 1967 • Birthplace — Havana, Cuba • Died — 11 September 1999 • Place of death — Havana, Cuba • Movement — Cuban art • Awards — Cuban Prize for National Cultural Distinction (1996) the Biennial of San Juan Prize for Latin American and Caribbean Engraving (1997) International Prize at the International Graphics Biennale in Maastricht, the Netherlands (1993) • Website — https: en.belkisayon.org/la-artista • Field — Collography

Belkis Ayón was born in Havana, Cuba in 1967. From 1979 to 1982, she attended 20 de Octubre Elementary School of the Arts in Havana. For four years from 1982 to 1986 she attended San Alejandro Academy, Havana. From 1986 to 1991, Ayón attended the prestigious Instituto Superior de Arte in Havana where she gained a bachelor's degree in Engraving, and joined its faculty after graduation.

A central theme of Ayón's art is Abakuá, a secret, exclusively male association with a complex mythology that informs their rites and traditions. The fraternal society began in Nigeria at Cross River and Akwa Ibom and was brought to Haiti and Cuba through the slave trade in the 19th century. Ayón researched the history of Abakuá extensively, with special emphasis on the most prominent and only female figure in the religion, Princess Sikan. According to a central Abakuán myth, Sikan once accidentally captured Tanze, an enchanted fish which imparted great power to those who heard its voice. When she took the fish to her father, he warned her to remain silent and never speak of it again. She did divulge the information however, to her fiancé, leader of an enemy tribe. Her punishment was a death sentence and with her, Tanze also died. This story comes in the form of imposed silence in her work, a major theme. The concept of imposed silence is evident in the lack of mouths in all of her figures. Belkis Ayón demonstration of Sikan's betrayal in her collagraphs may be considered a transgression because, ironically, Ayon, a female artist, gives voice to the main antagonist Sikan, a woman, in Abakua mythology, which traditionally prohibits women. In this way, Belkis rebelled against the sexist and patriarchal culture argued to be ingrained in Cuban society by highlighting the religion's feminine presence. To date, Ayón has been the only prominent artist to create an extensive body of work based on the Abakuán society. Because the society itself had created very few visual representations of its myths, Ayón had great freedom to visually interpret their myths for herself. Numerous Abakuán rituals are represented in her collagraphs, many of which draw on Christian as well as Afro-Cuban traditions. Abakuán beliefs existed in sharp contrast to the atheistic anti-religious position of the Cuban communist government at the time.

Ayón's work has been shown widely internationally. She has been featured in group exhibitions in Canada, South Korea, the Netherlands and Spain (2010). In 1993, she exhibited at the 16th Venice Biennale and won the international prize at the International Graphics Biennale in Maastricht, the Netherlands. Other Biennials she attended include the Havana Biennial, Bharat Bhavan International Biennial of Prints in India, and the San Juan, Puerto Rico Biennial of Latin American and Caribbean Engraving in which she was awarded a prize as well. In 1998 Ayón received four residencies in the United States working at Temple University's Tyler School of Art, Philadelphia College of Art, Rhode Island School of Design, and at the Brandywine Workshop. The same year she was elected vice-president of the Association of Plastic Artists of National Union of Writers and Artists of Cuba.

Ayón died by suicide of a gunshot to the head at home in Havana on 11 September 1999. She was 32. Reasons for her suicide still remain a mystery to her friends and family. However, The New York Times obituary quotes her as saying of her art, in the year that she died: These [works] are the things I have inside that I toss out because there are burdens with which you cannot live or drag along,...Perhaps that is what my work is about — that after so many years, I realize the disquiet.

• "Belkis Ayón: A Documentary Video Work in Progress", Fowler Museum, 26 September 2016 • "Belkis Ayon", 9 December 2012

Her work can now be found in the permanent collections of a number of museums, including the Museum of Contemporary Art Los Angeles and the Museum of Modern Art in New York. From 2 October 2016 to 12 February 2017, the Fowler Museum staged Ayón's first solo museum exhibition with the help of her estate; the exhibition subsequently traveled to El Museo del Barrio in New York and the Kemper Museum of Contemporary Art in Kansas City, and was widely well received. The first retrospective of her work in Europe showed 90 pieces of her work at the Reina Sofia museum in Madrid from 2021 until April 2022. Ayón's work Untitled (Sikán with White Tips), a monochromatic print made in 1993, is also featured in the collection of the Pérez Art Museum Miami (PAMM). In 2023, the National Gallery of Art in Washington, DC acquired her painting Sin titulo [Mujer en posición fetal] (Untitled, Woman in fetal position), 1996.