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12 Biennal of Havana, Instituto Superior de Arte (ISA). Installation, 2015. 

In collaboration with Fabian Alejandro Gonzalez.


A crane holds a container in the air. Inside the container you can hear an art auction (Sotheby's and Christie's sales houses) and there are wooden crates that simulate hanging artworks.

For better and for worse, as the artists involved in the critique of institutions demonstrate, the framework is as relevant today as the material it holds. All art institutions, including artists, are subject to the same economic, social, and political forces that shape the world beyond their doors.

Cuba is a very emerging country in terms of the art market, where the first serious setbacks began to occur in the 80s with VOLUME 1 and to date there is not even an art fair in Havana, where young artists can sell their product as an unique collector's item.

The Biennial of Havana, which is supposed to be an artistic event, in which the most innovative works from each participating country are exhibited, arouses controversies and theoretical debates, in a certain way it manages to fill a void. A void where the main objective of the young artist, beyond creating from the theoretical discourse of the biennial, is to sell himself as a product to the best gallery owner or collector, in order to achieve international recognition.

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