The history of the Aglutinador space.

There could hardly be another Cuban artist in the field of visual arts in recent decades whose work resembles that of Sandra Ceballos. We are not referring to her most personal creation – drawing, painting, installations, performances – but rather to her artistic work in the broadest sense, as a curator, editor, promoter, agent, gallery worker, art activist….

The truly important books are those we don’t dare to quote.

A short time ago a young journalist from a digital site asked me for a list of the 10 Cuban books that have had most influenced me. This is not the first time I have been asked for such a list, but that does not prevent me usually having a sensation of perplexity when, let’s say, taking an empty sheet of paper, listing on it 10 spaces and trying to fill them out, just to cross out once and gain each line, while the doubts boil in my head and the task becomes anguishing for me if I try to give coherence to the list, or turn it into a small canon containing the works that the majority would accept as most relevant.

This time around the documentary Vivir y escribir en La Habana was presented.

Cuban writer Leonardo Padura was one of the narrators invited to the Santo Domingo International Book Fair (FILSD 2017), which concluded on May 1 and had Paraguay as honorary guest country.

On the centennial of her birth, Casa de lasAméricas pays tribute in Cuba to one of the highest exponents of Chilean culture.

Solitary, unfinished and defiant, like its own creator, an applique of 136 by 200 centimetres, escorted by song lyrics, pays tribute to Chilean singer-songwriter Violeta Parra on the centennial of her birth through the exhibition “Tealabo, amiga, compañera” at Havana’s Casa de lasAméricas.