Arte por Excelencias - - Estados Unidos -

My cu­rrent ex­hi­bi­tion, titled Open Sce­ne, will be on un­til Ja­nuary next year at the im­por­tant N'nam­di Cen­ter for Con­tem­po­rary Art in the city of Detroit, Mi­chi­gan. The con­tact with a pu­blic sea­so­ned in con­tem­pla­ting good art, was for me a sti­mu­la­ting ex­pe­rien­ce, com­ple­ted by the prac­ti­cal con­ver­sa­tions with the di­rec­tors of the ins­ti­tu­tion that in­vi­ted me.

The dif­fi­cult thing that it was for me to con­clu­de a group of lar­ge for­mat works to par­ti­ci­pa­te in Open Sce­ne, be­si­des the odys­sey of sen­ding them by air car­go to the des­ti­na­tion in ques­tion, was fi­nally com­pen­sa­ted by that en­ri­ching en­coun­ter bet­ween the pu­blic and my of­fers.

On a lo­nely jour­ney on my way back, first to Mia­mi and la­ter to Havana, I had in the me­mo­ries of Detroit the cer­tainty that the substantial aest­he­tic frui­tion ope­ra­ted in in­di­vi­duals cons­ti­tu­tes a fact of cul­tu­re, and not the sim­ple al­ter­na­ti­ve of fi­nan­cial in­vest­ment in ac­qui­ring highly-ran­ked art-mer­chan­di­se or one that is emer­gent and orien­ted to pro­fits and pu­ri­fi­ca­tion of ca­pi­tals. That was enough to prompt me to new me­di­ta­tions.

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