Her work is eminently testimonial, although lately she has moved, without abandoning her documentary vocation, to more experimental planes.

Ernesto Villanueva (Havana, 1970) is participating in the 15th Havana Biennial (collateral exhibition) with what seems to be a new moment in his artistic production. Coming from geometric abstraction, with a slight previous foray into the figurative, in 2009 he inaugurated the long series Summer in My Garden, where he proposes to create a particular garden, a space of contemplation and exaltation, of meditation and exchange of feelings and ideas. Those initial gardens inaugurated what was to be his representation strategy from then on, the metonymic approach to the subject. The garden (glimpsed? dreamed?) is never represented in its entirety in the works. A group of suggested flowers is arranged in the space in very different ways, under different lights and in a range that goes from cold to warm colors, in correspondence with the artist’s moods and the vicissitudes of his personal circumstances. The garden for the flowers, the whole for the part. Perspective of the mural starting from the beginning of the route. Regarding the genesis of this collection, Villanueva has said: “Summer in My Garden has always been associated with the idea of a mental state directly linked to happiness. Drawing a parallel between those interior gardens...

“One of the practices that most motivates me in my work has been the questioning of the archive, that system of statements about the past that is usually put together by power and assimilated collectively.”

The uniqueness of his photographic work is the integration of the human being with the landscape, whether urban or rural.

Armando Zambrana was born in 1962 in Havana, the city where he lives and has created most of his work, which is nourished by street events, the daily pulse of his ordinary characters, simple beings who carry out the hard job of living in quite unfavorable conditions. Zambrana is a hunter of moments. It seems as if the photographs were offering themselves to him, that he only presses the shutter and obtains the aesthetically achieved image, that of multiple interpretations, which makes us stop and reflect. But we know that is not so. His trained eye selects angles, chooses the light, decides the speed with which the diaphragm must open and close, in an act that has resulted from continued exercise, constant study, and ― perhaps most importantly ― his alert conscience of witness. He is a man who sets the flashes of reality that most sensitize him, that exalt or injure him, but that he must capture at all costs. I am sure that the Cubans of the future will also have to turn to Zambrana’s photographs to know what we were like when the imperfect beings of today dreamed of them. In passing, before giving him the floor...

The artist reacts against expiration, calculated or not; she believes that things have more than one life.

One of the best-known faces of Cuban culture; a versatile actor who has had brilliant performances on stage as well as in film and television.

“I enjoy the decoration of each humidor. When I finish it, I sit down with it and smoke a cigar, accompanied by a good añejo.”

Eleven Cuban women writers describe Christmas. The visual work of eleven artists accompanies the stories. Texts and images are two mirrors facing each other.

Four months have passed since this strange encounter. Nobody hasn’t communicated. I can’t wait to publish this, interview? Maybe he will be able to read it.

“Landrián” had its second showing as part of the 44th edition of the Havana Film Festival at the La Rampa movie theater.

No less than 532 paintings by 520 Cuban artists make up Juan Carlos Romero’s collection, which continues to grow.

The menu preserves recipes that have proven successful among diners and incorporates new ones, reworked by Spanish chef Sergio Hernández.

The photographer looks and sees. He rides a bicycle through Havana trying to fix what memory could, with the passing of the days, bury.

She landed on this planet in 1992 in Jagüey Grande, as Elaine Piedrafita Santos. But she’s Eli for everyone, Eli PS if you want more data.

Between the meme and conceptual art, this design exercise speaks in Cuban street language, in Spanglish, with double meanings, acidity and irony.

The former art director still wakes up thinking how happy he would be if he could go back to work with his colleagues from that time.

Brief dialogue with the Cuban film director about his most recent work: “El mundo de Nelsito.”

His goatee, his eternal pipe, his fine humor, made him a hybrid of an English lord and a Cuban prankster.

The International Danzonero Meeting returns, with venues in Matanzas and Havana.

“Havana is for me like a close friend: when things go well for her, I rejoice; when things go bad, I suffer and cry with her.”

The draft of the Social Communication Law that will soon be debated in the National Assembly of People’s Power continues to provoke debates when many still point out ambiguities and shortcomings.

A conversation about “the thing,” the future in the sore Cuban archipelago, beaten by winds from many cardinal points, sometimes conflicting.

At just over 30 years of age, she has already accumulated fifty published titles and affirms that literature has saved her from many things.

The heavy part of being a playwright, actress, singer, composer and mother of two children.