The young woman "invented" thirteen papier maché pieces, in an exercise of synthesis of the mixed faces of the society, of the fears and the aspirations of the inhabitants in their constant relation with the city.

Placed in the wall they do not say so much as when they were “free“ walking the capital quarter of Colón, during the XXIInd Havana Biennial. Then she showed the sociocultural scope of her interactive action, conceived with an integration vision, from an interdisciplinary perspective.

Now we come, as always, waiting for the opening of a traditional exhibit, but Cristina does not hide her provocation. Because Máscaras de barrio cuts across the pieces hung like paintings, to be erected in alive representation for this place during a concrete time.

The art history keeps on insisting on the mania "objetualista" and wastes esthetic experiences that receive the social and cultural significance and the hurdles of the creative fact, as well as the obstacles of the artistic circuit.

Although Cristina has not done something new, because the performance with world relevancy comes from the 60s, she is attending to the urgency of recovering the city and its spaces for the artistic practice.

Only from the urban stage we will be able to read Cristina's exhibit, who incites us to remove the daily masks, the masks with which we go out to this dialogue area and also horizon of conflict that is the city.

Translated by BA in English Language, Manuel Barrera Téllez

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