
Cuba.
The Cuban Performance Art scene emerged from Havana and its surroundings during the mid-1970s and, particularly, the 1980s. A period in which socially engaged art became a chosen language for the first generation of artists in the aftermath of the Cuban Revolution. Although Cuban Performance Art has been influenced by multiple topics – from theater to politics, religion, and academia – it had an everlasting impact on Cuban society and cultural landscape of the time. Its resonance with Cuban artists and people of Cuban descent has been present from then to now around the United States (the Cuban Americans) and abroad.[1] Live art practices, such as happenings and performances, developed in and alongside art schools on the island and occurred in tandem with new media and conceptual art movements in other parts of the world. Cuban Performance Art is distinct due to the region’s political situation, which profoundly affected the arts and culture and the lives of artists. For many artists living in a context under political language, performance art is a creative expression that allows them to communicate and engage with certain topics and ideas. (Wikipedia)
Artist and Performance Art Groups
- Collectives
- The Puré group (1986-1987)
- Arte Calle
- Movimiento San Isidro
- OMNI-ZONA FRANCA
- Unresearched
- Luis Manuel Otero Alcánatara
- José Ernesto Alonso
- Alejandro Astudillo
- Fredman Barahona
- Jota Castro
- María Magdalena Campos-Pons
- Sandra Ceballos
- Raúl Moarquech Ferrera-Balanquet
- Glenda Leon
- José Madrigal Despaigne
- Zhenia C. Martell
- Carlos Martiel
- José Esteban Muñoz
- Achy Obejas
- Amaury Pacheco
- Ernesto Pujol
- Ciro Quintana
- Yali Romagoza
- Iris Ruiz
- Leandro Soto
- Ezequil Suarez
- Carmelita Tropicana
Resources
- Aglutinador
- Catálogos: Malditos de la postguerra
- Herzberg, Julia P.: Ana Mendieta : the formative years
- Herzberg, Julia P.: Ana Mendieta’s Iowa Years 1970-1980
- Kauer-García, Laura. The Artist as Activist in Contemporary Nicaragua, Peru and Cuba
- Leon, Glenda. La Condicion Performatica. Havanna, Editorial Letras Cubanos, 2001. Special edition. 77 pages. Text in Spanish. Written by Cuban artist and art critic Glenda León, La condición performática provides a critical reflection on performance art, from both formal and conceptual points of view. Informed by contemporary theory and avant-garde precedents to the history of performance art, León’s text pays special attention to the social, cultural, and political circumstances of Cuban art production in the late 1990s
- Vega, Veronica. Borrowed Freedom: Necessary Art in Cuba. Havana Times
- Veigas, José, Cristina Vives, Adolfo V. Nodal, Valia Garzon, and Dannys Montes de Oca. Memoria: Cuban Art of the 20th Century. Los Angeles, CA: California/International Arts Foundation, 2002.
- Espacio Aglutinador
- La Condicion Performatica (2001), the first overview of performance art in Cuba
- Cuba’s first alternative art biennial: “We built an inclusive space of free creation and true collaboration”
- Instituto Artivismo Hannah Arendt
- McChrystal, Ryan. Cuba’s first alternative art biennial: “We built an inclusive space of free creation and true collaboration”, Index on Censorship, 2018
- Museo de Arte Políticamente Incómodo
- Museo de la Disidencia en Cuba
- Recovering histories : considerations on the practices of twelve artists = Historias recuperadas : reflexiones sobre la trayectoria de doce artistas
- The Plastic Artists dedicate themselves to baseball (1989)
