Collective exhibition. DNasco Studio, Street Espada Nr. 214 between Jovellar and San Lázaro, Center Havana / November 2017

by: Ángel Pérez

Nothing personal is a political essay. The projection of a break with the paradigms that shaped the ideology of the Cuban after the epic victory of 1959. Indifferent to the promises of utopian thought, these young people notice the irrevocable imprint of a fading historical time.

The critical exercises of Nothing personal (Nada personal) are pronounced on reality, history and ideology. Distant from stereotyped sociologism, they intervene in social processes, manipulate political rhetoric and question the state word; they deconstruct and parody the ideological operation of officialdom, contradict the plots of meaning erected by the authorities, dialogue with the contradictions of the civic environment and place the crisis and the fracture of the revolutionary nation project. It is a visual syntax that questions the representations of Cuba's current time. Nothing personal records the historical shaking that marks the subjectivity of the Island. There are no signs of resentful memory here: from a visceral anchorage in the civic body, the gap between official discourse and everyday life is penetrated.

Perhaps because of the frontality of the statement, which does not fear anecdotal registration or direct allusion, a strictly rhetorical sample is assumed, but it is not only the pulse of the political gaze: its effectiveness emerges from the effectiveness of the aesthetic approach. Its artistic density is found there where formal construction effectively channels the implications of discourse. The truce experienced by an art that we can describe as "political", insofar as it opens a space of civic conflict where representation is inserted in the dissensions between subjectivity, collective interests and principles of power, has here an organic expression, full in its capacity for dialogue and confrontation.

These artists are so contemporary because of their potential to perceive/confront the fissures of the time. Possibly the greatest success of the show lies in its willingness to think about the current face of Cuba from the vigor that the landing of the aesthetic experience reports, defying a discourse that no longer finds resorts in reality.

It's not you.
by: Elvia Rosa Castro

Positivism, at one point, tried to lower the metaphysical fumes, leaving aside speculation and, of course, the abstract discourses of the great stories. Positivism, as a suspiciously objective compilation of data and records, became attractive in the 19th century and constituted one of the pillars of the subject matter that welcomed it: Sociology. Its founder, the Frenchman Augusto Comte, exposed the basic ideas of this new subject in a prologue to a book of popular Astronomy. Let's note this: the idea of collecting finite and verifiable data was born surrounded by a lens (telescope) and a goal: planets, stars... At the same time that Photography was invented! And this, in turn, uses an arsenal of principles very similar to the tools of Sociology. The Photography would arise to lower a little the fumes to the art: to the tyranny of the perspective, to the aura of the unique piece and of the elitism. He showed up to send the author ego to the showers after midtime. I'd come to sprinkle a little efficiency in the middle of complacency.

Nothing personal contains these ingredients and takes up a certain spirit from the Behavioral Art Workshop, joining Leandro Feal and Claudio Fuentes. Sometimes processing and relating, sometimes simply recording and waiting. There is, I can't deny it, historical fiction, intertextual winks, parody, parables and narrative, but all this is in function of annulling the verse, reducing the cross-eyed tooth of the metaphor as far as possible. It also moves away from the chlorine of a certain minimal movement. The theatricalization of several pieces coexists with the aesthetization of the document and the memory exposed in frank insolence, as the context requires, attested by a phosphorescent anemia. These pieces are the result of a create dangerously, of the notion that art should not be reduced to monologues, especially when we are in the open sea[1]. Drifting and unprotected, I add.

The "as is" of Nada personal supposes a transcendent condition of the gesture and a nudity as a critical device. With an apparently harmless breath Nothing personal shakes the chain as he says to the monkey, "no hard feelings bro, this is just something I can see. This collection of verifiable events represents the innocent side of the archive. [2]