Collective exhibition. Seventh salon of Contemporary Cuban Art: Narrative turn 3. October-December, 2017

Somehow, having lived and worked in Africa, as collaborators hired by a Cuban corporation to teach, worked in practice as a creative grant; a long residence with space to scrutinize little-known aspects of that mythical continent, which, unfailingly, in our popular context, continues to be associated with witchcraft, "backwardness" and wildlife; where, moreover, they say, one pays well. We could never conceal the natural perplexity aroused by its abrupt contrasts, specifically in Angola (which is an intricate cultural crossroads within the human diversity of the region), since the clichés contained in our personal archives, in a high percentage nuanced by references to the episode of war at the end of the last century, insalubrity and poverty, designed a socio-cultural map as ambiguous for our expectations as the one held by the navigators and traders of the 17th century. Openly, that environment very quickly became a natural and transparent space of work and creation, without strangeness or excessive efforts to communicate and live in it actively. Objectively, poorly or well documented, we travel there with a vehemence too eloquent to be hidden.

As happened to the naturalist Charles Darwin, after his voyage aboard the Beagle, to whom the information gathered during the voyage took years to take rational form and theoretical sense, we will take some time to organize the abundant records collected. Without the slightest intention to compare us with the famous naturalist in his grand historical innocence, there are common points in the order of some procedures: a) the objective of our official designation was also fulfilled, to the point that, from it included, the many other self-appointments were derived and concatenated, in which our artistic-scientific curiosity was deliberately manifested; b) on our return, we had to give a brief report of the official activities (which is not what you have in your hands) for our contractors, just as the creator of the Evolutionary Theory did for His Majesty; only that the young Brit did not enjoy the privileges of a medical check-up, a thick drop and a 15-day thermometry follow-up. The rest, what we do with our learned heritage, and without grandiloquences, remains in the hands of time and the effort we make to alert the rest of the world to the wisdom that westernization systematically crushes in Africa, as central as it is remote.

This elementary Dossier, distributed in several episodes during the Contemporary Art Salon, highlights the most remarkable aspects of our African experience, such as, scientific-academic organization at the University of Arts of Angola, interaction with Angolan professors and students, cultural environment, socio-anthropological research, economy, nature, travel and whatever is trapped in the wide framework we have used to select the ingredients of this presentation.

Amilkar Feria Flores / Marcela García Olivera/ Anamely Ramos González

- Carro de mano/ Performance/Marcela García Olivera, Anamely Ramos González, Amilkar Feria Flores/ 27 de octubre,
Visual Arts Development Center

Calle San Ignacio No. 28 esq. Teniente Rey,

Plaza Vieja, Habana Vieja/

- Recreational anthropology/ Plastic-literary story - poetry reading-/ Amilkar Feria Flores/ November 9,
House of Poetry
Calle Muralla No. 63, Habana Vieja/
- El Enano en la botella/ Exhibition of ideas on stage proposals/ Marcela García Olivera/ November 17,
Sala teatro Hubert de Blanck
Calle Calzada No. 657, Vedado/

- Exports. Three documentary records (2014-2017)/ Presentation of artistic-pedagogical experiences and testimonial vestiges/ Anamely Ramos González, Marcela García Olivera, Amilkar Feria Flores/ 28 de
Visual Arts Development Center

Calle San Ignacio No. 28 esq. Teniente Rey,
Plaza Vieja, Habana Vieja/

- Return to Africa/ Amilkar's Personal Exhibition Flowers Fair/ December 8,
Africa House
Obrapía e/ Mercaderes y San Ignacio,
Habana Vieja/