Obras-en

Individual works

ÁN E Á UE T AM A

Título: ÁN E Á UE T AM
Media: Installation.
Materials/Technique: Tiles, wood, transparent acrylic, Rubik´s cube.
Dimensions: Variables.
Date: 2014
Edition amount: –

“ AN E A UE T AM A ” is an installation designed for an exhibition shown in the ruins of the Ballet Faculty (known as Circus Ruins) at the Arts University in Havana. The piece was supposed to integrate with the architecture, because of the similitude of the construction materials used to build it. It consisted of a podium or pedestal made of long thin bricks, on which there was an empty acrylic cube, like an exhibitor. Inside the exhibitor there was a broken up Rubik´s cube. In some of the cube´s little squares, the public could find loose black letters that established a correspondence with the artwork title letters. Only the interested and participatory spectator could decipher the apparently meaningless text, on Rubik´s cube, always from a certain distance, because he was not allowed to touch the object, but with the reading and thinking could decipher the message. This is a work which depends on the spectator´s presence or distance: its attitude. The interest around this art work revolves around related questions: how much time do we really devote to connect with artworks beyond the simple impression they bring about? How much disposition do we have to change reality from active participation and effort?

Título: ÁN E Á UE T AM
Media: Installation.
Materials/Technique: Tiles, wood, transparent acrylic, Rubik´s cube.
Dimensions: Variables.
Date: 2014
Edition amount: –

“ AN E A UE T AM A ” is an installation designed for an exhibition shown in the ruins of the Ballet Faculty (known as Circus Ruins) at the Arts University in Havana. The piece was supposed to integrate with the architecture, because of the similitude of the construction materials used to build it. It consisted of a podium or pedestal made of long thin bricks, on which there was an empty acrylic cube, like an exhibitor. Inside the exhibitor there was a broken up Rubik´s cube. In some of the cube´s little squares, the public could find loose black letters that established a correspondence with the artwork title letters. Only the interested and participatory spectator could decipher the apparently meaningless text, on Rubik´s cube, always from a certain distance, because he was not allowed to touch the object, but with the reading and thinking could decipher the message. This is a work which depends on the spectator´s presence or distance: its attitude. The interest around this art work revolves around related questions: how much time do we really devote to connect with artworks beyond the simple impression they bring about? How much disposition do we have to change reality from active participation and effort?

Decrescendo

Title: “Decrescendo”
Media: Installation.
Dimensions: Variables.
Date: 2015.
Edition amount: –
“Decrescendo” is a piece about the participation dynamics in contemporary Cuban society regarding matters of civic-political kind and about how consistent and active are, mainly the new generations, in expressing their ideals.
The revision of a specific event in Cuba´s history: when twelve women sang in 1868, for the first time in public, the La Bayamesa anthem, an anthem that had been prohibited and later became Cuba´s national anthem. The piece establishes a comparison between past and present. Twelve Cuban women sharing the same names and last names, but living in present Cuba were contacted after a research done throughout the island, and interviewed on their aspirations, concerns, and political perceptions.
The use of unravelling and manual embroidery, together with the printing on cooper plates to present all the information processed, poses a question about the preservation of cultural and patriotic traditions.

Title: “Decrescendo”
Media: Installation.

Materials/Technique: Doce manteles deshilados, con textos bordados a mano, impresión sobre cobre, mesa y repisas de madera.
Dimensions: Variables.
Date: 2015.
Edition amount: –

Statement:
“Decrescendo” is a piece about the participation dynamics in contemporary Cuban society regarding matters of civic-political kind and about how consistent and active are, mainly the new generations, in expressing their ideals.

The revision of a specific event in Cuba´s history: when twelve women sang in 1868, for the first time in public, the La Bayamesa anthem, an anthem that had been prohibited and later became Cuba´s national anthem. The piece establishes a comparison between past and present. Twelve Cuban women sharing the same names and last names, but living in present Cuba were contacted after a research done throughout the island, and interviewed on their aspirations, concerns, and political perceptions.

The use of unravelling and manual embroidery, together with the printing on cooper plates to present all the information processed, poses a question about the preservation of cultural and patriotic traditions.

Exercise to train the indignation muscle

“Exercise to train the indignation muscle”
Action-object.
Artificial grass, garbage picked up in three towns named Prosperity, steel wire, engraved aluminum tag, and resin.
Variable dimensions.
2015.

The piece consisted in the picking up of garbage in three Cuban villages which names are Prosperity. I travelled to these locations in order to collect garbage from public places. The trash collected was mixed and pressed to conform three geometrical bodies (cubes), which format depend on the amount of trash picked up. These objects are covered with artificial grass, in a way that the spectator will never perceive their inner content, changing in this way a performative action into an object, and establishing a contrast between the passive aspect of the image with the active aspect of the process. From each of the cubes, there hangs a kind of metal tag showing the location each one represents. The information regarding the inner content of the cubes only appears in the exhibition catalogue or in the footnotes, being these supplements the ones activating the meaning of the action and the objects.

I try to make a metaphor with the work with trash, to talk about appearances from power´s approach and from its social dimension, stemming from a re-signified action due to the locations selected. This idea came true following the emergence of a new political slogan in Cuba, which sought to strengthen Socialism as a prosperous and sustainable system.
Tag contents:
Prosperity, La Habana; Prosperity, Cienfuegos; Prosperity, Santiago de Cuba.

“Exercise to train the indignation muscle”
Action-object.
Artificial grass, garbage picked up in three towns named Prosperity, steel wire, engraved aluminum tag, and resin.
Variable dimensions.
2015.

The piece consisted in the picking up of garbage in three Cuban villages which names are Prosperity. I travelled to these locations in order to collect garbage from public places. The trash collected was mixed and pressed to conform three geometrical bodies (cubes), which format depend on the amount of trash picked up. These objects are covered with artificial grass, in a way that the spectator will never perceive their inner content, changing in this way a performative action into an object, and establishing a contrast between the passive aspect of the image with the active aspect of the process. From each of the cubes, there hangs a kind of metal tag showing the location each one represents. The information regarding the inner content of the cubes only appears in the exhibition catalogue or in the footnotes, being these supplements the ones activating the meaning of the action and the objects.

I try to make a metaphor with the work with trash, to talk about appearances from power´s approach and from its social dimension, stemming from a re-signified action due to the locations selected. This idea came true following the emergence of a new political slogan in Cuba, which sought to strengthen Socialism as a prosperous and sustainable system.
Tag contents:
Prosperity, La Habana; Prosperity, Cienfuegos; Prosperity, Santiago de Cuba.

Expulsion from The Republic

Title: “Expulsion from The Republic”
Media: Installation-action.

Materials/Technique: Cork and wooden boards with several information, laptop, web site www.revolico.com, wooden table and bench.

Dimensions: Variables.
Date: 2014-2015.
Edition amount: –

The concern that origins this project is about the several ways to earn money that professional and non-professional people do to “make a living” in Cuban contemporary context. I attempt to make a reflection about artists´ insertion in the complex weaving of real relations of production, services and consumption.

In order to achieve this goal, I looked for real jobs for a period of approximately six months using the Employment section at www.revolico.com alternative website. Through this website, I expressed my availability to perform different kinds of jobs, and offered the services that I was capable of doing outside the field of art. At the time I was performing the different jobs, I camouflaged my art project and my identity as an artist.

The installation was shown in an art gallery by presenting two stages: firstly, information obtained during the process, and after that whole result. In both cases, there was a laptop placed on a desk showing the Employment section at that website, previously downloaded. In this way, the spectator could find not only the ads I had inserted but others uploaded by users of this website. The information hanged on the boards was about the jobs for which I had been hired, including photographs, objects, data such as the money invested, the profits made, the inconvenience of working in those places, etc.

Title: “Expulsion from The Republic”
Media: Installation-action.

Materials/Technique: Cork and wooden boards with several information, laptop, web site www.revolico.com, wooden table and bench.

Dimensions: Variables.
Date: 2014-2015.
Edition amount: –

The concern that origins this project is about the several ways to earn money that professional and non-professional people do to “make a living” in Cuban contemporary context. I attempt to make a reflection about artists´ insertion in the complex weaving of real relations of production, services and consumption.

In order to achieve this goal, I looked for real jobs for a period of approximately six months using the Employment section at www.revolico.com alternative website. Through this website, I expressed my availability to perform different kinds of jobs, and offered the services that I was capable of doing outside the field of art. At the time I was performing the different jobs, I camouflaged my art project and my identity as an artist.

The installation was shown in an art gallery by presenting two stages: firstly, information obtained during the process, and after that whole result. In both cases, there was a laptop placed on a desk showing the Employment section at that website, previously downloaded. In this way, the spectator could find not only the ads I had inserted but others uploaded by users of this website. The information hanged on the boards was about the jobs for which I had been hired, including photographs, objects, data such as the money invested, the profits made, the inconvenience of working in those places, etc.

Zoom

Title: “Zoom project”
Media: Objet-action-photogrphy.
Materials/Technique: Digital printing on Epson paper.
Dimensions: 3 images of 50cm x 70cm each + text engraved in black acrylic of 21cm x 30cm.
Date: 2013
Edition amount: 5

The “Zoom Project” emerges from several contacts with people from different groups in their social contexts. The observation and communication act like a vehicle to the interaction between the groups and I, as an artist. The resulting experiences of this observation/relationship are converted into a symbolic multiple object, which destiny is to be consume in two different spaces: firstly, at the gallery whit its art specialized spectators, and then, in the city or the street, with its not-specialized audience.
I am interested in exploring how is the reception of the objects in those contexts, promoting that in the first space will be understand as art pieces -with the particular reflections they could bring about- and in the second one, as a simple consumption object. The insertion of the objects in specific social contexts -as a way to approach the masse- and the use of them by people, has the intention to favor that they work actively inside reality but not only in selected an legitimized art context.
The results of the whole process are three photos of one object from each multiple production since I am not interested to document the different phases of the project.

Artworks from the project:
“Snowball effect”.
Object-action.
150 snowballs. Glass, ceramic, ethylene glycol, cork, wood, PVC.

“Scattered collection”
Object-action.
20 gold 9k bracelets, silver 925, black leather.

“Epitome”
Object-action.
Five book edition, handbound. Cardboard, bond paper, onion skin.

Title: “Proyecto zoom”
Media: Objeto-acción-fotografía.
Materials/Technique: Impresión digital sobre papel Epson.
Dimensions: 3 imágenes de 50cm x 70cm cada una + texto grabado en acrílico negro de 21cm x 30cm.
Date: 2013
Edition amount: 5
The “Zoom Project” emerges from several contacts with people from different groups in their social contexts. The observation and communication act like a vehicle to the interaction between the groups and I, as an artist. The resulting experiences of this observation/relationship are converted into a symbolic multiple object, which destiny is to be consume in two different spaces: firstly, at the gallery whit its art specialized spectators, and then, in the city or the street, with its not-specialized audience.
I am interested in exploring how is the reception of the objects in those contexts, promoting that in the first space will be understand as art pieces -with the particular reflections they could bring about- and in the second one, as a simple consumption object. The insertion of the objects in specific social contexts -as a way to approach the masse- and the use of them by people, has the intention to favor that they work actively inside reality but not only in selected an legitimized art context.
The results of the whole process are three photos of one object from each multiple production since I am not interested to document the different phases of the project.

Artworks from the project:
“Snowball effect”.
Object-action.
150 snowballs. Glass, ceramic, ethylene glycol, cork, wood, PVC.


“Scattered collection”
Object-action.
20 gold 9k bracelets, silver 925, black leather.

“Epitome”
Object-action.
Five book edition, handbound. Cardboard, bond paper, onion skin.

Saturn devouring his son

“Saturn devouring his son”
Installation.
2019.
Intervened magazines covers, transparent acrylic. 
The piece is the result of an intervention on the covers of “Critical Thinking” magazine, published in Cuba from 1967 to 1971, year when it was censored by the government, under the allegation of being divergent.
My action consisted on destroying the part of the magazine covers containing the title, and then, reconstructing them using the traditional paper restoration process. The purpose of this somewhat illogical procedure was to take the magazine as a pretext to deal with concerns related to the inconvenience that political system´s own “creations” could generate for them.

“Saturn devouring his son”
Installation.
2019.
Intervened magazines covers, transparent acrylic. 
The piece is the result of an intervention on the covers of “Critical Thinking” magazine, published in Cuba from 1967 to 1971, year when it was censored by the government, under the allegation of being divergent.
My action consisted on destroying the part of the magazine covers containing the title, and then, reconstructing them using the traditional paper restoration process. The purpose of this somewhat illogical procedure was to take the magazine as a pretext to deal with concerns related to the inconvenience that political system´s own “creations” could generate for them.

Untitled

Untitled.
Installation/action.
Wooden table and shelf, fabrics and other materials to produce the flag, documenting pictures and sketches.
Variable dimensions.
2019.
This work consisted on the production of a flag by a group of people. The call asked to design and create that kind of object, by working in a group collaborating process. The created flag should identify, symbolize and represent its own creators.

The interested people were asked to sign in as part of the working team, which composition, wasn´t limited by genre, age, nationality, etc. An initial meeting was set up, for participants to establish the project’s schedule and length, by themselves. To carry out the work, there were several materials available. However, it was possible for the collaborators to bring other materials depending on their interests. Cooperation among the group was requested in the call, so that the people participating were able to redefine the meaning of a flag, its use and its reason for being. In this way, so they could transgress conceptions about size, color, texture, symbology and so on. Besides, it was required to agree on the flag’s corresponding ritual (ceremony of hoisting, folding, incinerating…) The resulting object would eventually be shown in the gallery, according to the presentation determined by the working group. The final presentation would include leftover materials, documentary photographs and other elements used during the flag’s production.

The project’s goal was to foster a democratic space with real group collaboration in a context where, in my opinion, there is a lack of it. The request for the object to be created connects with the following ideas: re-foundation, restart, representativeness, inspiration.

Untitled.
Installation/action.
Wooden table and shelf, fabrics and other materials to produce the flag, documenting pictures and sketches.
Variable dimensions.
2019.
This work consisted on the production of a flag by a group of people. The call asked to design and create that kind of object, by working in a group collaborating process. The created flag should identify, symbolize and represent its own creators.

The interested people were asked to sign in as part of the working team, which composition, wasn´t limited by genre, age, nationality, etc. An initial meeting was set up, for participants to establish the project’s schedule and length, by themselves. To carry out the work, there were several materials available. However, it was possible for the collaborators to bring other materials depending on their interests. Cooperation among the group was requested in the call, so that the people participating were able to redefine the meaning of a flag, its use and its reason for being. In this way, so they could transgress conceptions about size, color, texture, symbology and so on. Besides, it was required to agree on the flag’s corresponding ritual (ceremony of hoisting, folding, incinerating…) The resulting object would eventually be shown in the gallery, according to the presentation determined by the working group. The final presentation would include leftover materials, documentary photographs and other elements used during the flag’s production.

The project’s goal was to foster a democratic space with real group collaboration in a context where, in my opinion, there is a lack of it. The request for the object to be created connects with the following ideas: re-foundation, restart, representativeness, inspiration.

Souvenir

“Souvenir”.
Installation.
5 bags cross-stitch manually embroidered.
Variable dimensions.
2019.
This work is composed of five hand-woven bags made by Chiapas´ indigenous artisans, which has been cross-stitch embroidered with images that represents socio-political and environmental conflicts present in the Mexican island of Holbox. These problems constitute dilemmas for the community, and function in a very underlying way, without affecting tourists visiting the island, who are provided with an ephemeral experience of happiness and well-being, that fallows policies not always adequately balanced.
I take the idea of a souvenir and what this concept means, to question the way we interact with a specific place, what we leave and what we take, carry or move –metaphorically speaking-, from places where we don’t establish a deep connection in terms of a more permanent living, everyday life, and experience.

“Souvenir”.
Installation.
5 bags cross-stitch manually embroidered.
Variable dimensions.
2019.
This work is composed of five hand-woven bags made by Chiapas´ indigenous artisans, which has been cross-stitch embroidered with images that represents socio-political and environmental conflicts present in the Mexican island of Holbox. These problems constitute dilemmas for the community, and function in a very underlying way, without affecting tourists visiting the island, who are provided with an ephemeral experience of happiness and well-being, that fallows policies not always adequately balanced.
I take the idea of a souvenir and what this concept means, to question the way we interact with a specific place, what we leave and what we take, carry or move –metaphorically speaking-, from places where we don’t establish a deep connection in terms of a more permanent living, everyday life, and experience.

Ceiling

“Ceiling”
Photographic installation.
2017.
Digital print on cotton paper. 50cm x 70cm each.
Edición: 5

With this work I propose a reflection on the legal situation that private art spaces and their agents face in Cuba. I underpin this assertion based on two related facts: on the one hand, the absence of a legal framework which supports this kind of spaces and the people who work in them; on the other hand, the existing permissibility or indulgence from the art institution towards them.
It is in this legal-illegal or tolerance-intolerance breach that this piece is based upon, questioning the point up to which real collaboration and interchange between the private and the institutional spaces could take place, if, beforehand, the cultural policy of the country and the law do not provide a clear regulation regarding this.
The photographs show a graffiti saying THIS IS NOT A GALLERY, that I made at all the independent art spaces in Havana that allowed me to do it. I appropriate the typography of Magritte’s “The treachery of images” to argue about the real definition and functioning of these kind of places in Cuba.

“Ceiling”
Photographic installation.
2017.
Digital print on cotton paper. 50cm x 70cm each.
Edición: 5

With this work I propose a reflection on the legal situation that private art spaces and their agents face in Cuba. I underpin this assertion based on two related facts: on the one hand, the absence of a legal framework which supports this kind of spaces and the people who work in them; on the other hand, the existing permissibility or indulgence from the art institution towards them.
It is in this legal-illegal or tolerance-intolerance breach that this piece is based upon, questioning the point up to which real collaboration and interchange between the private and the institutional spaces could take place, if, beforehand, the cultural policy of the country and the law do not provide a clear regulation regarding this.
The photographs show a graffiti saying THIS IS NOT A GALLERY, that I made at all the independent art spaces in Havana that allowed me to do it. I appropriate the typography of Magritte’s “The treachery of images” to argue about the real definition and functioning of these kind of places in Cuba.