Need marks each work of art of the Havana Biennial. Material need, where a screw used in some pedestal could end up in the door of a home, or in a chair or even in the bed where four people sleep every night. And the other need, that of freedom, makes us approach the art to take for ourselves a piece of its rebellion, before the guard blows his whistle and we leave, empty-handed.
Havana is a fractured place--beautiful, colorful, and hopeful, but at the same time, poor, deprived, and repressed. Old Havana is full of charm, life, music, color, and tourists. It features architectural styles, including neoclassical and grand colonial, with courtyards and covered walkways, and some Art Deco.
Belonging to an outlawed media outlet makes the work even more problematic, and gives a clandestine character to a job that should be a profession like any other. Now, if we look at "the glass half full," the limitation of not being able to access official spaces has freed us, in 14ymedio, from that journalism of "statements" that produces such harmful effects.
When we celebrate those who contribute to conservation, many times zoological parks are not a part of that discussion. In fact, these parks contribute to that effort robustly in land and seascapes across the globe through in-park conservation education, scientific field work, and breeding of species endangered in the wild.
Beyond his art, Aldo "Maldito" Menendez is a real cubanazo who boasts the talent, mischievousness and humor that so characterize us. So how is it possible that, for political reasons, he is prevented from being in the place where he's from, the site from which flows much of his art and his world of reference?