Prophylactic life (1)

By Hamlet Lavastida

60 x 80 cm
No of editions

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Prophylactic life (1) by Hamlet Lavastida

Our Frames


Our frames are off the wall

German crafted professional grade frames in black and white individually crafted for Absolut Art and chosen by the curators and artists to best fit the artworks.

The frames are magnetic so they are super easy to use - you can switch out your prints in a matter of minutes.

  • 6 millimeter aluminum frames 
  • UV proof plexiglass 
  • Magnetic open / close

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About Hamlet Lavastida

Watch video

An ideological language that propose to shape the reality

“But let’s be clear, I and my generation believe in the revolution, the thing in which I not believe is in the corrupt institutionalization and in the perpetual silence inherited for almost 60 decades”

What’s your work about?
"My work is an approximation to a very specific aesthetical dimension practices established since the very beginning of the Cuban revolution. An ideological language that propose to shape the reality with linguistic (and iconographic) tools. A narrative that try to be scientific, which pretend to develop from their scientific assumptions, ideological and political structures. In a way, a language that intends to articulate inside the institutions rhetorical forms able to keep the social cohesion under the socialist ideology.
Beyond any historiographical reconstruction, my interest focused in rewrite into today reality a very specific morphological approach. But above all, those linguistic methodologies that have been addressed toward the intellectual and cultural sector. Terms as: “ideological penetration”, “ideological deviation”, “prophylactic work” and a long list of euphemisms and terminologies inherited in many cases as a result of direct translation from soviets “linguistic dictionaries”. This organic rhetoric figures were introduced into the cultural narratives and for several decades shape our aesthetic practices and our cultural policies."

What inspires you?
"All elements which create a material configuration pretty close of a way of production and dissemination of Cuban propaganda mural and informative installations in the second half of a XX century. Also the concrete art and political art and literature."

Why have you chosen to live and work in Havana?
"Cuba and the very specific place of Havana is the natural environment in which I grow, perhaps this city is the only possible place that I know as my own hands. We, Cuban artist and intellectuals have an enormous responsibility that consist in keep alive the spirit of cultural resistance and aesthetic identity towards a permanent confrontation of icons, historic memory, public debate, dissent and discrepancy under the enormous shadow of Cuban revolution. But let’s be clear, I and my generation believe in the revolution, the thing in which I not believe is in the corrupt institutionalization and in the perpetual silence inherited for almost 60 decades. The task is to live here, and try to articulate a proper and urgent response to such cultural precariousness, the antagonisms are here, and these are the challenges."

A bit about Hamlet
Hamlet Lavastida, (Havana,1983), studied at the Academia Nacional de Bellas Artes “San Alejandro”, (Havana,1998-2002), Instituto Superior de Arte, (Havana, 2003-2009), as well Cátedra de Arte de Conducta, (Havana, 2004-2006). His works has been presented in: Iconocracia, ARTIUM, Centro-Museo Vasco de Arte Contemporáneo, Vitoria-Gasteiz, ES, 2015; Politics: I don’t like it, but it likes me, Center for Contemporary Art Łaźnia, Gdansk, PL, 2013; Liverpool Biennial. International 10: Touched, UK, 2010; Curadores Go Home, Espacio Aglutinador, Havana, CU, 2008; Gwangju Biennale. (Cátedra Arte de Conducta), Gwangju, KO, 2008. Also has taking part in residency programs as: A-I-R Laboratory, Centrum Sztuki Współczesnej, Zamek Ujazdowski. Warsaw, PL, 2012; Residencia PERRO Aglutinador-Laboratorio, Havana, CU, 2008. Right now his work is focus in certain notions of ideological language inside the Cuban context. Issues as cultural policies, design, public sphere, archeology and historiography are developed from different supports as videos, collages, performances, public intervention and installations.