La patria que vuela - the homeland in flight - is a farewell to the meaning of the term Homeland as previously defined by the discourse in power. It sheds this past and abandons the ballast of ideological ruin. It refers to the laziness of exclusion, whether in discourses of power or in the collapse and corruption of its libertarian rhetoric. The works gathered here become the new ‘stories of salvation’ on a personal level by charting new utopias.
Many changes have taken place in Cuba, thanks to social networks, the velocity of cultural exchanges, migrations and the phenomenon of globalisation. Another challenge to the idea of the Homeland is a sense of tiredness, generated by a modern discourse that evolves around an imaginary centre (house, home, homeland) where one can rest. It also refers to the present discredit of a rhetoric that, until very recently, presented society as an entity in which even utopia could be a redeeming action. These changes, in consequence, have brought about a critical attitude towards formerly self-evident concepts such as identity, homeland, and nation.
In Cuba, the notion of Homeland, as used by the hegemonic discourse, is almost always identified with the destiny of the Nation and the State. Therefore, it is not simply about a cultural discourse, but also about a political one. These artists are saying ‘No more!’
In the exhibition, the Homeland acquires a nature that is more about the individual, and inner journeys of the self. It presents very personal geographies where symbols and the ‘theatricalisation of the homeland’ are erased or criticised. Emancipation lies precisely in the negation of the Homeland as a unique place and in the symbolic mapping through which each individual can represent and imagine him/herself. La patria que vuela means abandoning the robust and exclusive criteria of the traditional discourse of power, since it acknowledges the demise of its liberating rhetoric.
Curated By Elvia Rosa Castro
Lidzie Alvisa Jimenez