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Published on August 31, 2021

Alejandro de la Guerra

Alejandro de la Guerra, La Maquina Herida, mixed media, 2021

Alejandro de la Guerra’s work is on display at the Art Gallery at Three Rivers Community College.

My artistic work is focused in the aestethetics of power; specially in the idea of the monumental approaches of History and the political power. I am interested in deciphering the symbols of power and its influence in our conception of art: the liminal frontier where art becomes functional/utilitarian as a form of a political discursive. Moreover, as I am interested in the reconstruction of the Historical Memory as a method of individual awareness based on experience rather than theory, I have developed passion in the demystification of power that operates in the collective thought through clothes, monuments, podiums, rituals, symbols and through the different cultural expressions of “officialism”. In that sense, my art work is based on critical thinking: an interdisciplinary game between historical memory and myth, between imagination and hallucination, fiction and reality; moving on the sly among the fragile border that separates archeology and socio-politics from art. Alejandro de la Guerra.


In February 2020, Alejandro de la Guerra, Nicaraguan artist and art teacher, began a planned year-long residence as a visiting fellow at UConn’s School of Fine Arts. The main thematic point of reference of de la Guerra’s art is historical memory. Among his best-known works is the public sculpture/performance piece, La Caída (The Downfall), in which a famous torn-down equestrian statue of former Nicaraguan dictator Anastasio Somoza was first meticulously re-created and re-mounted, and then torn down again before a large assembly in Managua. Examples of his work may be seen at his Website and blogspot. De la Guerra looks forward to getting new work done in new media while at UConn, and welcomes opportunities to mount exhibits of his work and talk to classes and speak at other public events about political and activist art in Nicaragua and Central America. El Instituto’s Director, Samuel Martínez, gratefully acknowledges the support of the IIE Artist Protection Fund, UConn’s Human Rights Institute and School of Arts, and the Quiet Corner Refugee Resettlement group in facilitating de la Guerra’s residency. Samuel Martínez