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Statement:
Collective exhibition. Villa Manuela gallery. H street, number 406 between 17 and 19, Vedado, La Havana. October-November 2016
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"Physiology of taste"
by: Claudia Taboada Chuchman


"Metallic flavor" is an expression used to characterize the perception of said flavor, obtained mainly by the absorption of blood or ingestion of drugs with metallic components, although other causes related to semiological symptoms, commonly associated with disorders in the field, are not exempt. of neurology. The taste information is collected by the language, a body specialized in its reception, which is then received and processed by the brain, becoming conscious. On the one hand, the taste collects all the sensitive information received in the mouth, and on the other hand, the taste provides information about the identity of the elements, likes or dislikes. This bitter taste almost always has the counterpart of a positive end: the very act of sucking blood from wounds prevents infections in some way; as well as the use of pills, which contain such an effect, contributes to weaken and fight certain diseases.

From the physiology of taste to what might be called "histology of art" there seem to exist only disconnected relationships, understanding the distances between what organic and intellectual fibers presuppose; but the certain thing is that some specific terms cause an overflow of the clinical concept towards a language that is attractive to him to the art. From the same expression, "metallic taste", literary-metaphorical meanings are also shared, especially by the word flavor, connoted with the sense of evoke. The algorithm of power relations, whatever they are, fits the majority of Sometimes the functions described by the taste and its metallic taste. In a symptomatic way, art receives this information and translates it into sensitive information, identifying problems that operate from the appearance, with positive ends against the grain of the bitter drink. The physiology of this flavor applied in the field of visual arts, woke up the idea of ​​this project that invites the direct use of metal and / or its appointment (explicit or suggested).

The exhibition will approach the metal as a means to question somewhat the behavior of society and its (new) vices, seen from its technological development reached to its detriment in human, social, cultural and historical relationships.


"Dysgeusia"
by: Loliett M. Delachaux

It is the experience of art, diluted between circumstantial and peremptory, a way of understanding reality; that which twists, mixes and becomes more porous each day. The invention, as Mary W. Shelley would say "does not consist of creating from nothing, but of chaos" and today, it must be admitted, the new artistic forms denote alterations, because they have vitiated everything and what they have been able to absorb from their environment chaotic.

On the one hand, there are obvious alterations in the material selection itself, semantic handle for multiple readings. This is no longer expressed in a single way, but has bifurcated its discursive possibilities. On the other hand, there are the themes and the forms they acquire to talk about those constants impossible to avoid, even more, those radical changes in the appreciation of an issue, making it perceive with a different "taste". Metallic, an exhibition that brings together fourteen Cuban creators, appropriates the meta-relations of approximation between the language of art and other knowledge (medicine), to identify symptoms, pathologies visible within contemporary Cuban visual arts.

The exhibition explores the signs or objective artistic manifestations and the subjective symptoms or perceptions that a set of creators use to dialogue about their time. It runs through the most literal paths of the phrase, reflecting in some of the pieces that precarious existence of the human being even exposed to the traps of power, warmongering and militarism that persists in today's society. Metal as a metaphor, associated with certain ideologies that have led to suffocation; in function of perpetuating an economic and / or political power. Seen, moreover, as malleable material, stripped of its rough appearance from new morphologies; or as a component of extrartistic objects that have transformed their usefulness into new meanings. It also appeals to the imaginative monarchy of artists to speak from a less evident, more lyrical and emotional line where their sensory possibilities are repaired, in this case, the taste metallic associated with blood. This section explores the notions of pain, submission and violence. The subject and space (metaphorical) as protagonists of situations (aggressive), conflicts (gender), among others; in proposals that go from the personal to the universal, from the particular to the general.

Flavor Metallic warns the need to say of a society that tends to constant change. He wants to make these symptoms visible by offering them in images or aesthetic experiences that deal with global issues. Art, as a living organism, has been able to detect, envision and accompany situations, problems and phenomena of all kinds. So the sample comes as an expression of the complex and contradictory universe that also participates in contemporary cuban art.



Artists of the exhibition:
Yamir Izquierdo, The Merger, Susana P. Delahante Matienzo, Roldán Lauzán, Marianela Orozco, Lorena Gutiérrez, Kadir López, José A. Vincench, Gustavo Pérez Monzón, Ernesto Quintana, Diana Fonseca, Daniel Rodríguez Collazo, Antonio Gómez Margolles, Adonis Flores