More than a project…
Several events of notable interest for Cuban artists and, in general, for the island’s art have coincided in recent months. The first, the Venice Biennial, in which Cuba’s presence is almost a must, given that this forum has traditionally been used by the country’s authorities to legitimize those artists which, according to the circumstances, they want to give particular visibility. An opportunity always longed for by the island’s creators to dialogue with their contemporaries in the world and to come into contact with the most important international art critics who systematically come to this city to update the vision each country offers of its recent creation. Together with the traditional event, on the other side of the Atlantic, an exhibition was inaugurated in one of Miami’s most important museums, made up by some of the works that Mr. Jorge Pérez has collected during these years and whose principal interest, in addition to enjoying them, can be the possibility it gives of getting to know the collector’s view of current Cuban art.
In this context, what attracts attention is the curiosity that exists about Cuban artists, who have been seen circulating for some time through the most diverse cities of Europe, Asia and the United States. It’s worthwhile to say that this year has started off with the same intensity. Of course it hasn’t been possible to make known all the projects that have been carried out, but those included here suffice to give an example of our assertion.
On the other hand, it is known that one of this magazine’s aims is to make known the reflections that critics and artists propose on issues still not resolved in contemporary society. Some of them: the presence of women in art or racism, are topics that quite a great many national creators have paid attention to, such as the cases of those to whom we have given the word in this issue. In the same way, we continue observing the evolution of Cuban art on the international market, and we give some coordinates to get acquainted with it through the analysis provided by our collaborators most interested in these matters.
We are also following a phenomenon that in recent times has been growing on the island, that of the publication of books about living artists or about the history of Cuban art, whose projects are multiplying more and more in our world.
The work on the Venice Biennial which we commented about at the beginning has made us remember Art OnCuba’s edition 00, and the exhaustive analysis that we included then about the Cuban participation in this event. More than four years ago. At that time we were seeking a road (or many of them), a means (or a significant amount of them) to make our project come true, for many to be able to have access to it. The team that conceives and produces the magazine has gained experience, has changed, has grown. Today Art OnCuba is, more than a project about Cuban art, an unquestionable and solid certainty.