The opening of the 14th Havana Biennial November 12 at the Wifredo Lam Center, confirms the Cuban capital as the site of one of the most significant artistic events on the continent, given its emancipatory vocation and commitment to the transformative role of culture, while exposing the failure of those attempting to promote a boycott and manipulate the inclusive, ecumenical nature of the event.
The institution, located on Cathedral Plaza in Old Havana, will host the collective exhibition “Caminos que no conducen a Roma: colonialidad, descolonización y contemporaneidad” (Roads that don't lead to Rome: Coloniality, Decolonization and Contemporaneity), initially featuring works by 11 creators from Argentina, Mexico, France, Great Britain, Jordan, South Africa, the Dominican Republic and Cuba.
With access to the public as of the 13th, the exhibition will function as a work in progress, a continuous creative process throughout the event, guided by an that has been cardinal to the Biennial’s conception throughout its history: The legitimacy of voices that deviate from hegemonic discourses and represent the nucleus of cultural resistance, particularly among peoples of the so-called Third World.
Given the rethinking and adaptation of the Biennial’s organization, this exhibition is part of the event’s preamble, scheduled through December 5, as a prelude to the segment entitled the “Biennial’s Havana” (December 6, 2021 through March 24, 2022), featuring predominately contemporary Cuban art and presentations in several venues in Havana and other cities on the island.
The culmination will take place March 25-April 30, 2022, under the generic title of “A return to the future,” which will include four exhibition sites: Linea and 18th, the Cuba Pavilion, the Center for the Development of Visual Arts and the Fototeca de Cuba, with the participation of more than a hundred artists from all geographic areas, who will dialogue with the work of local creators, both established and emerging.
Thinking about art and its interrelation with other areas of knowledge and interpretation of realities are being addressed in two of the first events, November 16- 20, during theoretical panel discussions at the National Fine Arts Museum, with 34 confirmed participants from Latin America, the Caribbean, Europe, Asia and Africa, and the 22th through the 24th in an international meeting on pedagogical processes at the University of the Arts.