The opening of collective show “El ardid de los inocentes” (The Ruse of Innocents) is scheduled to take place in Factoria Habana on Friday May 10. Curated by Onedys Calvo, the show gathers works with different formats: photography, video and installation, which reflect the direct relation between individuals and urban context, and vice versa, through changes, not only at urban and architectural scale, but mostly at psychological level.
Cuban creators, who have stood out because of their sociologic and research vocation, have been called to join “El ardid de los inocentes”. The invited artists are Celia and Yunior, Grethell Rasua, Luis Garciga, Marianela Orozco, Ricardo Miguel Hernandez, Nestor Sire and Renier Quer.
Celia and Yunior will be showcasing Colonias Epifitas, a research they have reflected on their personal agenda and can be reviewed through images of its scanned pages. They contain information on a series of distinguished houses in the city and their different uses.
In Cubiertas de deseos, artist Grethell Rasua puts together the images she has created over the past five years, which represent a testimony of a practice that has become usual in terms of architecture: patching. On the other hand, Luis Garciga presents an installation with lights and sound, the result of a research on the rural process faced by the city. Developer is Ricardo Miguel Hernandez’ series of snapshots, in which he displays images of several gas stations of the city.
The exhibit includes two video works; one has been produced by Marianela Orozco and shows how an urban character, representing an age bracket and a specific context, occupies time. The other one, Nestor Sire’sTotem, tells the story of a town water tank, whose definitive use lies beyond the expectations of settlers.
El sueño de las tilapias, by Renier Quer, is a metaphor on existential matters told through a sort of cartoon story on the wall, with a zoo bear cage as stage.
“El ardid de los inocentes”is an exhibition interested in pointing out sign changes that have taken place at symbolic and use levels, and represent the result of social praxis that have faced a category of the emerging, constant and progressive, and have had a bearing on the city’s physical and socio-psychological environment.
Source: Press release
