Interview with Cyclops, youth self-managed project dedicated to the contemporary Cuban picture.

How did the project come about?
Cyclops was created in 2012 to make visible the work of new creators who were farther away from the usual promotion centres. Its founder, Alain Gutiérrez, conceived this project at Centro Pablo. A year later the F8 group, led by Yuri Obregon, came back to the idea. Each month, the Center for Plastic Arts and Light and Craft Design, the Center for the Development of Visual Arts and the Cuban Art Factory (F.A.C.) met in different places to present the work of young artists. Later, and before the prerogatives of Yuri Obregón, the project passed to our hands, that we had just finished the studies of History of the Art. So the project currently has three managers[1] and we already completed (in August/2017) the first year of work.

What are your objectives?
Cíclope is a self-managed project dedicated to contemporary Cuban photography. From the beginning, our objectives have been aimed at encouraging the exchange of experiences and criteria among those interested in photography; promoting, in an orderly and horizontal way, the new voices that are expressed through the photographic language and providing them with the theoretical-aesthetic tools necessary for the development of their work. To this end, we hold monthly conversations in which we invite a young photographer and a specialist so that both can provide feedback, contribute to breaking the barrier between creators and critics and, of course, make the artist's work visible.

From the work done so far, have you been able to verify certain thematic or other lines of nature in current Cuban photography?  
More than thematic lines, there are spaces of common interest within current Cuban photography. On the one hand, documentary photography continues to be preferred by new creators, who opt to take to the streets to radiographies the daily national, sometimes with greater relevance and insight than others. In this topic go hand in hand the nods to poverty, marginality, aesthetics of deterioration, political situation. The gender discourse is another common line to young creators. Likewise, the portrait has also gained momentum as a social chronicle of our time, and to a lesser extent a conceptual photography, sometimes supported by technical-aesthetic innovations.
With regard to these different paths, this year our talks have been dedicated to discussing digital manipulation, the added value of images, the gender discourse in the photography of the new millennium, the queer subject in contemporary Cuban photography... So that our discursive threads go along with the photographic development in the Island.

Could you refer us, briefly, to what does the interest in certain curatorial lines respond?
Our curatorial interests have been directed precisely to make visible those topics that exist in novel photography, but that are less frequent or that have been less visibilized. In this sense, we must highlight the exhibitions Where is the easel? held at the Centro de Arte de Colón, Matanzas, and Fauna that recently culminated in the Black Wall of the F.A.C., both dedicated to the various expressions of urban culture in our country and the ways in which photography has manifested them. Also worthy of special mention is our first exhibition Mira y Punto, carried out following the presentation of Cíclope's first catalogue, which was dedicated to the portrait within young Cuban photography and glimpsed the different paths that the genre travels today.

What importance do you attach to conversations, chats, etc., organized with art critics and lens artists?

In the first place, the fact that these types of events contribute to breaking down the barrier that still exists between art specialists and creators, and of course that the latter feed on the theoretical knowledge and research studies of critics who are interested in the visual arts in general. We bet because a good communication between both parties can greatly favor the future of the youngest Cuban photographers.

[1] Annia Liz de Armas, Claudia Arcos y Claudia Pérez.