Memorias Intimas Marcas (which translates to Memories Intimacies Traces) is a series of work created by Carlos Garaicoa as part of an exhibition between Fernando Alvim, an Angolan artist and Gavin Younge, a South African artist. The work explores the collective trauma and shared private memories in the town of Cuito Cuanavale where the Angolan War took place in which the People's Armed Forces for the Liberation of Angola (FAPLA) and the Cuban Revolutionary Armed Forces defeated the South African Defence Force. The three artists stayed in the Angolan town for 12 days as a part artistic process to study the uncomfortable shared history of the Angolan war. The work aims not to reenact and describe public details of the war but rather initiate a process of healing through shared history and private memories created by the artist's experiences of the site of memory.

Memorias Intimas Marcas (which translates to Memories Intimacies Traces) is a series of work created by Carlos Garaicoa as part of an exhibition between Fernando Alvim, an Angolan artist and Gavin Younge, a South African artist. The work explores the collective trauma and shared private memories in the town of Cuito Cuanavale where the Angolan War took place in which the People's Armed Forces for the Liberation of Angola (FAPLA) and the Cuban Revolutionary Armed Forces defeated the South African Defence Force. The three artists stayed in the Angolan town for 12 days as a part artistic process to study the uncomfortable shared history of the Angolan war. The work aims not to reenact and describe public details of the war but rather initiate a process of healing through shared history and private memories created by the artist's experiences of the site of memory.

Memorias Intimas Marcas (which translates to Memories Intimacies Traces) is a series of work created by Carlos Garaicoa as part of an exhibition between Fernando Alvim, an Angolan artist and Gavin Younge, a South African artist. The work explores the collective trauma and shared private memories in the town of Cuito Cuanavale where the Angolan War took place in which the People's Armed Forces for the Liberation of Angola (FAPLA) and the Cuban Revolutionary Armed Forces defeated the South African Defence Force. The three artists stayed in the Angolan town for 12 days as a part artistic process to study the uncomfortable shared history of the Angolan war. The work aims not to reenact and describe public details of the war but rather initiate a process of healing through shared history and private memories created by the artist's experiences of the site of memory.

Graffiti Hospital forms part of the project Memorias Intimas Marcas (which translates to Memories Intimacies Traces). The project is a series of work created by Carlos Garaicoa as part of an exhibition between Fernando Alvim, an Angolan artist and Gavin Younge, a South African artist. The work explores the collective trauma and shared private memories in the town of Cuito Cuanavale where the Angolan War took place in which the People's Armed Forces for the Liberation of Angola (FAPLA) and the Cuban Revolutionary Armed Forces defeated the South African Defence Force. The three artists stayed in the Angolan town for 12 days as a part artistic process to study the shared history of the Angolan war. The work aims not to reenact and describe public details of the war but rather to initiate a process of healing through collective history and private memories created by the artist's experiences of the sites.

Memorias Intimas Marcas (which translates to Memories Intimacies Traces) is a series of work created by Carlos Garaicoa as part of an exhibition between Fernando Alvim, an Angolan artist and Gavin Younge, a South African artist. The work explores the collective trauma and shared private memories in the town of Cuito Cuanavale where the Angolan War took place in which the People's Armed Forces for the Liberation of Angola (FAPLA) and the Cuban Revolutionary Armed Forces defeated the South African Defence Force. The three artists stayed in the Angolan town for 12 days as a part artistic process to study the uncomfortable shared history of the Angolan war. The work aims not to reenact and describe public details of the war but rather initiate a process of healing through shared history and private memories created by the artist's experiences of the site of memory.

Memorias Intimas Marcas (which translates to Memories Intimacies Traces) is a series of work created by Carlos Garaicoa as part of an exhibition between Fernando Alvim, an Angolan artist and Gavin Younge, a South African artist. The work explores the collective trauma and shared private memories in the town of Cuito Cuanavale where the Angolan War took place in which the People's Armed Forces for the Liberation of Angola (FAPLA) and the Cuban Revolutionary Armed Forces defeated the South African Defence Force. The three artists stayed in the Angolan town for 12 days as a part artistic process to study the uncomfortable shared history of the Angolan war. The work aims not to reenact and describe public details of the war but rather initiate a process of healing through shared history and private memories created by the artist's experiences of the site of memory.

Hueco con cielo forms part of the project Memorias Intimas Marcas (which translates to Memories Intimacies Traces). The project is a series of work created by Carlos Garaicoa as part of an exhibition between Fernando Alvim, an Angolan artist and Gavin Younge, a South African artist. The work explores the collective trauma and shared private memories in the town of Cuito Cuanavale where the Angolan War took place in which the People's Armed Forces for the Liberation of Angola (FAPLA) and the Cuban Revolutionary Armed Forces defeated the South African Defence Force. The three artists stayed in the Angolan town for 12 days as a part artistic process to study the shared history of the Angolan war. The work aims not to reenact and describe public details of the war but rather to initiate a process of healing through collective history and private memories created by the artist's experiences of the sites.

Memorias Intimas Marcas (which translates to Memories Intimacies Traces) is a series of work created by Carlos Garaicoa as part of an exhibition between Fernando Alvim, an Angolan artist and Gavin Younge, a South African artist. The work explores the collective trauma and shared private memories in the town of Cuito Cuanavale where the Angolan War took place in which the People's Armed Forces for the Liberation of Angola (FAPLA) and the Cuban Revolutionary Armed Forces defeated the South African Defence Force. The three artists stayed in the Angolan town for 12 days as a part artistic process to study the uncomfortable shared history of the Angolan war. The work aims not to reenact and describe public details of the war but rather initiate a process of healing through shared history and private memories created by the artist's experiences of the site of memory.

Memorias Intimas Marcas (which translates to Memories Intimacies Traces) is a series of work created by Carlos Garaicoa as part of an exhibition between Fernando Alvim, an Angolan artist and Gavin Younge, a South African artist. The work explores the collective trauma and shared private memories in the town of Cuito Cuanavale where the Angolan War took place in which the People's Armed Forces for the Liberation of Angola (FAPLA) and the Cuban Revolutionary Armed Forces defeated the South African Defence Force. The three artists stayed in the Angolan town for 12 days as a part artistic process to study the uncomfortable shared history of the Angolan war. The work aims not to reenact and describe public details of the war but rather initiate a process of healing through shared history and private memories created by the artist's experiences of the site of memory.

Carlos Garaicoa’s Puzzles (2018–2022) is a photographic series that explores the fragility of memory, the politics of decay, and the documentary limits of the image. Known for his longstanding engagement with the urban fabric of post-revolutionary Havana, Garaicoa here turns his gaze to architectural ruins in cities such as Havana, New York, and Cape Town. Each work comprises two layers: a vivid photographic print rendered as a jigsaw puzzle (partially dismantled, with fragments collected at the bottom of its transparent casing) and a faded version of the same image forming a spectral backdrop. This layered structure metaphorically stages the tension between permanence and impermanence, memory and erosion. By presenting the photographic image as an unsolvable puzzle, Garaicoa transforms the act of documentation into one of poetic disassembly, echoing the collapse not only of buildings but of utopian ideals and collective certainties.

Carlos Garaicoa’s Puzzles (2018–2022) is a photographic series that explores the fragility of memory, the politics of decay, and the documentary limits of the image. Known for his longstanding engagement with the urban fabric of post-revolutionary Havana, Garaicoa here turns his gaze to architectural ruins in cities such as Havana, New York, and Cape Town. Each work comprises two layers: a vivid photographic print rendered as a jigsaw puzzle (partially dismantled, with fragments collected at the bottom of its transparent casing) and a faded version of the same image forming a spectral backdrop. This layered structure metaphorically stages the tension between permanence and impermanence, memory and erosion. By presenting the photographic image as an unsolvable puzzle, Garaicoa transforms the act of documentation into one of poetic disassembly, echoing the collapse not only of buildings but of utopian ideals and collective certainties.

At the heart of Garaicoa’s practice is an ongoing exploration of the narratives that buildings articulate as part of an expansion of the evolving dialogue between art, urban space, and urban imaginaries. The installation Escala 1:1 [Scale 1:1] (2014) is made up of rulers cut to resemble buildings, resulting in a malleable cityscape. This work follows his ongoing thematic work of measurement and taking stock of social life through urban space. This can be seen across his practice, where Garaicoa returns to sites in Havana and elsewhere to document architecture as an evolving indicator of a cityscape. For the artist, architecture speaks to the political and social context of a site.

At the heart of Garaicoa’s practice is an ongoing exploration of the narratives that buildings articulate as part of an expansion of the evolving dialogue between art, urban space, and urban imaginaries. The installation Escala 1:1 [Scale 1:1] (2014) is made up of rulers cut to resemble buildings, resulting in a malleable cityscape. This work follows his ongoing thematic work of measurement and taking stock of social life through urban space. This can be seen across his practice, where Garaicoa returns to sites in Havana and elsewhere to document architecture as an evolving indicator of a cityscape. For the artist, architecture speaks to the political and social context of a site.

At the heart of Garaicoa’s practice is an ongoing exploration of the narratives that buildings articulate as part of an expansion of the evolving dialogue between art, urban space, and urban imaginaries.

The installation Escala 1:1 [Scale 1:1] (2014) is made up of rulers cut to resemble buildings, resulting in a malleable cityscape. This work follows his ongoing thematic work of measurement and taking stock of social life through urban space. This can be seen across his practice, where Garaicoa returns to sites in Havana and elsewhere to document architecture as an evolving indicator of a cityscape. For the artist, architecture speaks to the political and social context of a site. Scale 1-1 Group 5 (Wood) is a grouping from the larger installation.

Eight pieces (N° 1; 3; 14; 18; 20; 25; 30; 37),