Society only changes by mediation of man-RUN RAM-ROM

And people hang their clothes, clean stairs and corridors; they continue with their lives as if in Loft Havana nothing had happened different from the everyday.

A collateral exhibition has stolen the attention of the Twelfth Biennial of Havana. RamRomRun, curated by Elvia Rosa Castro, has been housed in a communal area of Old Havana to dismantle existing power relations in our context and demonstrate once again that art is not just a matter of elites. This gesture has oxygenated the practice and artistic reception, reflection, utopias.

The ownership of an extra artistic space in which there is a clear demarcation between the private and the public -in which social life unfolds in hectic, fluctuating, diverse ways, the insertion of consummated pieces aesthetic and commercially, the expressed intention of not interfere in the own dynamics of this community and affect the size of the private deconstructs the utopia of art as a vehicle for social transformation.

Some spectators may be alarm that the residents of Loft Havana enter and exit of their homes in full artistic display, or they install to browse on their balconies on what happens in the neighborhood. Such a level of coexistence with products as diverse artistic nature is disturbing, first because it indicates acceptance of enjoyment and knowledge in these works protected by those to whom the art "does not hit them" or does not reach them-at another cultural our own sociological context, and secondly because it reaffirms once again its universal validity.

But we're not talking about another attempt to bring life to art. We have had enough of that. The exhibition curated by Elvia Rosa Castro while installed in the middle of a context of social interaction, is highlighting with its undeniable gesture independence between these two factors. Every man for himself: the spaces have been occupied for collective use, plus: the private ones were respected unpretentious to change the status quo prevailing in the community. The art on the one hand, influencing the conception of space in the use of the open square of the interaction, the possibilities of immediate benefit, and life, on the other, with its hectic flow. Members of the community then follow their usual pace, though they stop to look from time to time to peer into the intruder, on the other that, as a whole anthropologist, returns the gesture. Power relations have been disrupted in Loft Havana.

And people hang their clothes, clean stairs and corridors; they continue with their lives as if in Loft Havana nothing had happened different from the everyday. It is an almost unthinkable idea that art embodied in the monument of the intact, can withstand such interaction. Nothing: it functions and enriches like if we were talking of a body. Cultural processes have never been so accessible to the people, and paradoxically, never before were so closed to them.

This project has demonstrated that there is a serious fracture in the process of artistic reception. And it puts the viewers outside this social reality-a Havana site- facing social problems only eventually and superficially outlined from the receipt of the distance, now removed from everything with RamRomRun.

Moreover, the pieces collected in this space dialogue about the versatility and speed of the processes associated with memory: selectivity, ambivalence, multiplicity and emotion. And it's funny how they work in the context of formal as if it belongs to them. Elizabet Cerviño’s pendants, as sheets of a neighbor out of space to hang his clothes in the collective space conquest; the altarpiece of Jose Messiah, abandoned monument to the memory; the disloyal machetes sheathed in Plastic Guajiras lace or a distorted capital of Dayana Trigo: all of them are apothems of our collective history, the one that stays cool in the popular wise. Far from the grandiloquent speeches to our present is framed in Loft Havana galleries. Loyal chronicle of our times and adversity. In the end, this dreamer who cursed the contemporary Cuban art of not witness takes with RamRomRun, a loving bump on the head.

In short, they have managed to transform an idea –to get art closer to life in a multiple experience. Boldness and daring. And art has caught the acting psychopathology in the medium in which has been inserted; it has coupled to the context as if it had always belonged to it. Dimensional process in which the two variables are modified with notable changes in the resulting equation: society will not change by means of aesthetics; society only changes by mediation of man.