Welcome to yumas*


The Twelfth Havana Biennial took place within a context different from the former ones. The gradual reestablishment of relations between Cuba
and the United States from December 17, 2014, sowed in the political-cultural scene of the island the idea of a substantial opening to the international market. In this way, after the promise of some supposed political and economic changes, we could breathe before and during the event; within the world of Cuban art, with some high levels, fundamentally commercial, of expectation; although conflicting opinions coming from the mouth of scholars who alerted on the illusory nature of this phenomenon of the boom did not lack, since it represented something very proper of international artistic snobbism.

“In tone” with this trend, I had specialists who made for me the exotic suit of a dancer from the famous Tropicana Nightclub, with which I cross-dressed throughout the Biennial, visiting the most number of possible inaugurations. In each of these spaces, after my intrusive entry, I shared out to critics, theoreticians, artists, art dealers and other persons from the artistic milieu, some presentation cards specially designed for this performance in which a phrase of welcome to the event was printed with the title “Miss Havana Biennial” and my real personal contacts. During this work, I was photographed, voluntarily or not, by the restless cameras of any foreigner who noticed my exotic figure. In this way, building a metaphor from what is a carnival, I made a direct critic to the Biennial and its institutions, while cynically generating a stereotyped, shameless mechanism, but effective for self-promotion, that put into a crisis my own image as an artist.

*This performance was part of the Hors-Pistes: La primavera del amor (Hors-Pistes: The Spring of Love) event curated by Catherine Sicot
(Elegoa Cultural Productions) and Geraldine Gomez (Centre Pompido,Programme Hors-Pistes) presented during the Twelfth Havana Biennia.