Collaboration Essay. 7th salon contemporary Cuban art  (SACC). Development Center of Visual Arts

The 7th Salon of Contemporary Cuban Art (SACC) has been designed as a collaborative essay. More than a theme, as it is traditionally used, it has resulted in space for the convergence of peculiar experiences: atypical or at least unusual work processes, mixed methodologies, permeable alliances, ways of showing works from the performative and a special taste for fiction or role-playing.

The unfolding of works and projects invited in versions of themselves, allows to perceive a tendency to overflow the object result or minimize it in pursuit of life practices, learning experiences, research processes, field work, experimentation of languages and procedures ... Not infrequently the physical pieces are helped by actions more or less complementary to the total work, not as parts or elements that add up, but of senses that are gradually remarked; plots that intertwine generating circles that close on themselves, again and again, and open again to fulfill the route of an event that has its key words in iteration and mobility. In keeping with the undivided gestures of contemporary art and culture, specific loans from the world of theatre, specifically from the ancient and modern universe of the Comedy of Art, have been used to accompany this Essay Hall. The structure of the event reveals, in its mobilities and repositions, a will of exhaustiveness and divertimento, with several weekly events in a temporary deployment of almost three months. The resulting program is presented in the form of a script or score that mimics a staging in which the audience is invited to take part.

With these suggested features we can imagine and take the pulse to a Salon-essay with the following markings: the roles change but the characters do not; the scenarios and situations change but there are guidelines that serve as a foot to the improvisations; what happens in each case has a unique character, in the modern style, but the whole is thickened and deepened in the succession and unfolding of a narration that is acted; it seeks to question the spectator through a compendium that is dosed and finds in each turn new interactions of meaning; in short, it simulates the public space, from the limits and regulations proper to the field of art.

And one might wonder why the public, especially if we talk about the collaboration that is rehearsed and therefore could be left alone at the level of intent, without iconic or assertive pretensions. And it is that the sense of collectivity or at least of community that collaboration entails, even in its dysfunctions, can only be profiled by the Salon through the congregation of a public that is involved from the "known" things, as an complicity. The artists hasten to show their strategies of collaboration and in numerous occasions, they insist in verifying things in our environment so that it is the spectator who asserts, consents, smiles. Social knowledge as a collective construction, one of the most neglected results of collaborative processes, is profiled in that smile torn off to the one who passes and is recognized.

Artists search, grope, associate, learn and apprehend, appropriate themselves, submerge themselves, travel. As a tendency, and here is the curious thing, the procedures in this case do not have a distant and aseptic tone, what abounds is contamination. Or better: what abounds is pollution as an explicit strategy, for the sake of ensuring that aseptic cut, so characteristic of so-called contemporary art. A fact to be taken into account are the various registration actions to which the Salon-essay is subjected by the artists who reveal an operation between suspicion and self-referentiality, as animated by an extreme desire for transparency and deconstruction, or perhaps a joke on that same unsuccessful pretension of verisimilitude and compilation.

And it is in this hurried landscape where the three keys of interpretation that are glimpsed shine: fiction, performativity and mysticism. As in a prism, these seemingly distant keys allow us to enter and leave the physical sample and the whole event, with opposing senses. To verify things, create plots, fake behaviours and flirt with the rules of the game in order to contend in a histrionic game in which a reworked past and an immediate present come together. Everything from small actions, which begin and end soon, which have been regulated and their own limits are the guarantee of their capacity for freedom and their power of attraction. Contraction/dilatation would be the habitual movement that sustains the working processes of almost all works: often delayed, interrupted, inconclusive creation processes - synthetic works until the simplest register or the apparent trifle of the gesture is reached.

Artists seem doomed to live other lives, and masks become their faces. Who would resist if, in addition, fiction approaches the everyday and seems to equal both dimensions? More than fantasy it looks like rehearsed choreography. We play I believe to the harmony, to that we collaborate; with its double racero of performance and practice the essay validates, from its essence of indefinitions and hypothesis, a new order. The question here would be that of elucidating its fate: order for what? Efficiency or utopia? Profitability or depth?

Visibility or altruism? The mere theoretical approach of these pairs reveals the key to our discomfort. Perhaps that's why the burden of performance, of wanting to count, of delving into the desires of others, the insistence on glimpsing the future in the image of an advent. The game is open and at times, we can not sustain the character of our character.

Cuban artists seek to make their way through the skein of emerging practices to manage art, they want to make a career but they also want to make history and act them out.

The present Salon-essay, assumes the challenges that the forced foot of the collaboration imposes to him. What results is not at all a replica of what was projected, including losses, postponements, unexpected gains. What results is rather a record of an intention, of an effort. The mystical breath of future endeavors does not abandon us, with the predominance of a hermetic visuality that accentuates it. As is almost always the case in contemporary art, what you see are only indications of dissimilar work processes, in which our environment becomes the main target of the questions. We don't have answers, but we do have conjectures and a rush to test them and demonstrate their validity in our own flesh and blood. The essay acquires visions of experiment and, from the juncture that implies being children of our time, tries to project itself towards the future.

Narrative Turn 1... from History

The Unfinished Investigations of Sandú Darié (Conference)
Back to the cassette (Installation)
Meeting with José Manuel Fors about the collective exhibition Pintura fresca (1978)
Presentation of the documentary Polyester Oxide (1987)
Meeting with José A. Toirac about the exhibition of the group AB / TV Homage to Hans Haacke (1989)
(Ab)Cadabra Nebula (Enviroment)
After 72 hours (Epistolary novel)
Advocations of the Holy Spirit (Performatics Installation)
Versions (Process work)
12 grapes 12 bells (Installation)

Narrative Turn 2... learning and experimentation

Penumbra (Audiovisual Performance)
Tropical ballad visits the earth (Intervention)
Sporá (Interactive and processual work, inserted in the urban context and in the community)
Trappaintings (Sensory representations between painting and music)
Immaterial Sensitivity Zone
Download this video (Multidisciplinary Experience)
Introducing Developers
Listen to what you see (Audiovisual Performance)
Experimental music and live video session
Presentation of Dj Landeep Albuernes
Abstraction Presentation: Cuban Independent Electronic Music Seal
Black Box (Sound Register)
Ensō # 7 (Sonora Installation)

Workshop "CreArte"

Narrative Turn 3... collective construction of social knowledge

Invaluable (Environment)
Presentation of the Catalogue of the Invaluable and Intervention Collection (Environment)
Breath (Installation)
Common Good (Interactive Installation - Process Art)
Conference Contributions: Social Limits?
The art of listening
Memory of vagrancy (Intervention)
Pure Stories (Intervention)
In the kitchen of my house (Intervention)
Presentation of the collaboration project The Art of Listening (Archive and Compendium of Actions)

Dossier Luanda (Archive and Compendium of Actions)
And then we had the sky (Environment)
Mediators who mark experiences (Photo session)
Talking about Contemporary Art

Narrative Turn 4... as a strategy

Presentation of the Editorial Seal Ediciones
Political artist diverts human resources from Visual Arts Development Center
Farewell the boss (Video essay)
Royal Life (Multimedia Event)
Presentation of the book Trenes van and trenes vienen
Pharmacy: a conception, a school (Artistic - Pedagogical Project)
Virtual interactive experience
Underneath the reinforced concrete is a row of carob trees
Networking Cartographies (Installation)
Ceiling (Photographic Record)
Suipin (Registration)
Clandestina Corp: a futuristic marketing exercise
WASA3P (Registration)
Presentation of the Artistic Project Inside the Game
Presentation of Behind the Wall, Art and Society
Supervivo Collective