Veladoras / The creative poetry of Gabriel Orozco (Xalapa, Veracruz, 1962) is the international proposal that the National Museum of Fine Arts of Cuba develops for the program of the XIII Havana Biennial
Niurka Fanego Alfonso
The creative poetry of Gabriel Orozco (Xalapa, Veracruz, 1962) is the international proposal that the National Museum of Fine Arts of Cuba develops for the program of the XIII Havana Biennial.
Orozco has a long, intimate and vital journey with Cuba; a process that, hopefully, will emerge in his first project for our country. This invitation from the Museum to exhibit in its space expresses an exchange full of great expectations where the artist will be nourished by the institutional history of its collections, as well as by the valuable thesauri of other Cuban museums, which is equivalent to touching history, reflecting on collecting and generating new centers of attention, or better, new ways of focusing on objects and establishing links with them. It defines an aesthetization process that brings us closer to its way of feeling the world, now from the museal context.
The object as exchange is your personal policy. When it adds meanings to the common object, after de-contextualising them, it provides them with new readings while facilitating interpretation alternatives and inviting dialogue. Gabriel Orozco marks a political positioning as he enters a reality and highlights a segment of it, shows its fissures, shows its conflicts, and defines its perspective on the issue. Observation is the mother of all his stories.
During the first exchanges, the ingenious idea of making the - or perhaps, a - "universal history of Cuban art" arose. A phrase that transcends its initial interest not only for the pretension, but also for the honest intention of apprehending our process. As in any artistic project - including curatorial scope - time, knowledge and reality are shaping the result; however, it is still his focus to express his vision of the universal context in which art has grown in Cuba.
Historical and new works will offer an experiential compendium. We will appreciate how Orozco belongs, without being local; how he transcends, without seeking the media; how he speaks to us from his vocation to listen. Gabriel walks the path between the simple and the essential, between the established and the reflective. Entresaca, of life and the human, a fraction of them; it opens to time and encourages us to reflect on the alternatives that the institution and the receiver have.