Age, Biography and Wiki
Alexandre Arrechea was born on 1970 in Trinidad, Cuba, is a Cuban artist. Discover Alexandre Arrechea's Biography, Age, Height, Physical Stats, Dating/Affairs, Family and career updates. Learn How rich is he in this year and how he spends money? Also learn how he earned most of networth at the age of 54 years old?
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54 years old |
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Trinidad, Cuba |
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Cuba
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He is a member of famous Artist with the age 54 years old group.
Alexandre Arrechea Height, Weight & Measurements
At 54 years old, Alexandre Arrechea height not available right now. We will update Alexandre Arrechea's Height, weight, Body Measurements, Eye Color, Hair Color, Shoe & Dress size soon as possible.
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Not Available |
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Not Available |
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Not Available |
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Not Available |
Dating & Relationship status
He is currently single. He is not dating anyone. We don't have much information about He's past relationship and any previous engaged. According to our Database, He has no children.
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Alexandre Arrechea Net Worth
His net worth has been growing significantly in 2023-2024. So, how much is Alexandre Arrechea worth at the age of 54 years old? Alexandre Arrechea’s income source is mostly from being a successful Artist. He is from Cuba. We have estimated Alexandre Arrechea's net worth, money, salary, income, and assets.
| Net Worth in 2024 |
$1 Million - $5 Million |
| Salary in 2024 |
Under Review |
| Net Worth in 2023 |
Pending |
| Salary in 2023 |
Under Review |
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Not Available |
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Not Available |
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Artist |
Alexandre Arrechea Social Network
Timeline
Alexandre Arrechea (born 1970) is a Cuban visual artist.
His work involves concepts of power and its network of hierarchies, surveillance, control, prohibitions, and subjection.
Arrechea was born in Trinidad, Cuba in 1970.
Arrechea graduated from the Instituto Superior de Arte (ISA) of Havana in 1994.
He lives between Madrid and Miami, with his wife, Cuban art historian Marlene Barrios de Arrechea and their two children.
Arrechea made his name thanks to the art collective Los Carpinteros, composed of Marco Antonio Castillo Valdés and Dagoberto Rodríguez Sánchez.
The three artists began working behind their collective moniker back in 1994, and they became rapidly successful.
The New York Museum of Modern Art acquired several of their drawings for the museum's permanent collection.
This quest has led him to produce several monumental projects like “Ciudad Transportable” (2000), “The Garden of Mistrust” (2003-2005) and “Perpetual Free Entrance” (2006).
For twelve years he was a member of the art collective Los Carpinteros, until he left the group in July 2003 to continue his career as a solo artist.
His public art The spectator's participation in the work adds to his contemplation.
Arrechea decided to leave Los Carpinteros in July 2003, to begin a solo career.
His first individual project was El Jardin de la Desconfianza (The Garden of Mistrust), an epic installation in Los Angeles that required two years of work (2003-2005).
The central piece of the work was a whitewashed aluminum tree whose branches were outfitted with video cameras which recorded spectators and broadcast them on the Internet.
His public art often involves concepts of power and its network of hierarchies, surveillance, control, prohibitions and subjection.
The spectator's participation in the work adds to its contemplation.
Arrechea has been represented by the Casado Santapau Gallery in Madrid since 2006.
For the 10th Havana Biennial (March 27 – April 30, 2009), Arrechea worked on a project named La habitación de todos (The Room of All), which is a sculpture of a house that expands or contracts according to, respectively, the rise or fall of the Dow Jones Industrial Average.
More recently he has worked on a public art project in New York City, involving video projections on buildings.
His work will be showcased in the upcoming Venice Biennale.
The work arises out of human actions and reactions in the face of contemporary versions of the worldview already described by Jeremy Bentham in the 18th century.
The eye of power watches everything and everyone, and everyone watches everyone else and themselves.
The interdisciplinary quality of Arrechea's work reveals a profound interest in the exploration of both public and domestic spaces.
