Abel Barroso con un dispositivo de la serie Sala de navegación. / One Million Dollars, Wilfredo Prieto.
El deseo de morir por otros, Reynier Leyva Novo. / Híbrido de Chrysler, Esterio Segura.
Serie de cinco fotografías de René Peña. / Ciudad quemada, Roberto Diago.
José Ángel Toirac en el montaje de Ave María. / Mabel Poblet. Escala de valores, de la serie Patria.
Rewuing, Aimée García. / Carlos Martiel en el performance Mediterráneo.
José Manuel Fors. De la serie Cruces. / José Manuel Fors en el montaje de su obra.
José Eduardo Yaque en la instalación de Tumba abierta. / Iván Capote junto a su obra Dislexia.

Any curatorial approach to contemporary Cuban art involves a pleasant headache.
The design of Cuba’s Pavilion at the 57th Venice Biennial takes into account the assessments of the general curator of the event. But it also has a starting point in Cuban cultural thinking. In the sixties, Alejo Carpentier spoke about the behavior of what is temporal in Latin America and the Caribbean, where, in his view, three realities of that order coexist, considering the present as the "time of vision or intuition."
The logic of the Pavilion refers us to the present Cuban environment, as well as insular art. As a result of a solid tradition, the diversity of actors and promotions, working in unison inside or outside Cuba, recalls the unprecedented confluence of different generations of artists during the sixties. Although their typologies keep a vanguard projection alive since the renewal of the 1980s, or the subsequent vindication of the "aesthetic paradigm" and the "craft of art" in the 1990s, the scene operates today under the “rhizomes” of the postmodern everything goes, which is home to a multiplicity of interests.
Tiempo de la intuición (time for intuition) is just a sample of that vitality now less compact, but still existing. It puts in dialogue artists from different promotions, artists or perpetuators of some of the advanced operations in the most recent decades. In the discursive lines of the guests, the context and the commitment to it are essential when it comes to rethinking reality. Artists do not lose their “anchorage” with the original space, although in a few cases they break through it. From the peculiar vision of art, they translate themes and problems corresponding to the inner world, poetics of gender, racial issues, faith and spirituality, oscillations between the past and the future in the deconstruction of history and reflections on everyday life.
In turn, their works and projects are an expression of what art and the role of the artist mean in the outlining of a concept of humanity, based on a multiple identity that opposes the old notion of atavism, unique identity - Jean Bernabé, Patrick Chamoiseau, Raphaël Confiant - which contemplates the intersections and sounds of all cultures.