Those who experienced the constant expository function the Pabellón Cuba hadin the sixties –with advanced concepts of structural designand interesting museology, combining art or propaganda and visual memory with what is spectacular and unusual– have been pleased with the image that from now on displays this site at La Rampa, in Vedado.
Most of the artistic achievements the art macro-exhibition displayed there are positive evidence of the level of responsibility and harmony that fuses generational differences, interpretive approaches, creative method choices and plural emissions of the subjectivity.
When one observes the supporting curatorial choice as a whole, offering a vision of how the flag of the nation is assumed, felt and refracted by conventional architects and renovators of appreciable levels of quality, it can be seen that there is agreement between the artistic and that Martiana aspiration of a Republic "with all and for the welfare of all."
With a growing alienation and commodification of the art that pollutes and atomizes the fellow-countryman, sometimes distancing from their own context and humanist ideal, Fuerza y Sangre.Imaginarios de la Bandera en el arte cubano, is claimed as a congregation of what is legitimate and plural.
In panels, walls and open areas of the Pabellón Cuba, eagerness to bring necessary truths into light and attitudes of love that create intimate metaphors, the nexus of our flag with the historical dialectics and the clamor for what is ethical are combined with a genuine understanding of sovereignty. Fuerza y Sangre is installed as a unique prism of the human in over a hundred ways of shaping out the fruitful relationship –and sometimes complex– that visual artists have with the imperishable symbol that identifies us.
Such evolution of the appropriation of the flag of Cuba by the creator rainbow of the art that marks us, that is projected in the delivery of Fuerza y Sangre, makes it possible for our heroic symbol to be the flag of all Cuban art.
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