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The aroma of freshly brewed coffee mingled with the morning freshness in the courtyard of the Alejo Carpentier Gallery. Between the white columns and wrought-iron tables, we spoke with Isnel Plana Pérez, painter and geologist, who was returning to a place that was once his own.

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After several weeks of work at its headquarters, the Camagüey Contemporary Ballet premiered the piece Voces (Voices) on October 24th at the Avellaneda Theater, choreographed by Danish artist Jens Bjerregaard.

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A few days ago, I was invited to a space to talk about what it means to think about culture in viral times. It was a hot morning with an unstable internet connection, yet the room was full of young people, art and communication students among them. At one point, one of them raised her hand and said something that struck me deeply. I’ll summarize her words, which carried an urgency: it’s useless to stand still.

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Joel Jover’s gallery of poems expands with Thirst (Sed, Ácana Publishing, 2025), a book that both quenches — and awakens — the need to look inward. With the same intensity with which he paints, the Camagüey-born creator now offers a collection of poems where images are breathed, drunk, and heard.

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 From October 17th to the 19th, the Camagüey branch of the Hermanos Saíz Association (AHS) is holding the National Trova Festival Canto Adentro, dedicated to the memory of Miguel Escalona.

 In recognition of his career, solidity, and scholarly rigor in the creation of journalistic, graphic, and audiovisual materials that promote and disseminate history, the Camagüey branch of the Cuban Union of Historians (Unhic) awarded the Pablo de la Torriente Brau Certificate of Recognition to the Camagüey intellectual Jorge Santos Caballero.

The Ballet of Camagüey resumed performances of Dracula this weekend at the Teatro Principal, as part of the Cuban Culture Week celebrations. However, Sunday’s show had to be canceled due to persistent rains caused by a trough over the territory.

One year after embarking on the journey that would change his life, Emilio Wong is once again making headlines—this time from the heart of Hangzhou, where he has just officially inaugurated the Cuban Cultural Center, a comprehensive platform for promoting Cuban art and culture in China.

 I’ve been watching two series that, while very different in form, are deeply connected by an essential concern: the unease about what is happening to us as a society in the face of technological growth and emotional decline. I’m talking about Adolescence, a recent British production that disarms with its simplicity and depth, and Black Mirror, the now-classic dystopian anthology that feels less like science fiction and more like a chronicle of the present.

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