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• by Dieuwertje Hehewerth

• by Dieuwertje Hehewerth

• by Dieuwertje Hehewerth

• by Edisabel Marrero Tejeda

Henri Eric usually inquires how we can reecover and revere architectonical structures and remains of a bourgeois past, that are significant for our history and part of our identity, but considered inessential.

• by Edisabel Marrero Tejeda

A monument is a cold and dead structure, so are ruins. And only dead people should inhabit them.

• by Edisabel Marrero Tejeda

All Javier Castro’s video-creations seek to expose a reality of the Cuban society, conveniently silenced by the power structures of the government.

• by Edisabel Marrero Tejeda

The artistic duo Celia-Yunior, with their vocation for research, reexamine official Cuban archives and question their legitimacy. A much needed gesture in the current circumstances.

• by Edisabel Marrero Tejeda

I am aware of the impossibility to successfully summarize almost sixty years of the development of Cuban Art History in two pages. But nevertheless I think it is necessary to state at least point some fundamental aspects to better understand Cuban contemporary art.

• by Róna Kopeczky

Luiza Margan surprises, confuses, provokes smiles and has clearly defined intentions behind her approach, one of them being the reappropriation of the past in a subtly humorous way.

• by Róna Kopeczky

The performance pieces of the Moldovan Tatiana Fiodorova act as a metaphor for the transition of the USSR and its people to the new European realities and standards.