The fundamental idea that led me to make this performance is how I carry my family heritage. I use the boat as a symbol of my African and Chinese ancestors who were moved to Cuba on boats. I see myself as a result of this movement and that is why I throw the boat in this work. Speaking about my work in general terms, there are several concerns that I have tried to solve, present or criticize through Art and Sciences. I suffered intimate situations that triggered my interest in the situation of women in the world and the different manifestations of discrimination towards us. Then this circle of worries was closing towards physical violence against women in Cuba. Then my circle of concerns focused more on the cases of women killed because of violence, I noticed that in their case there was no possibility of giving an oral testimony, or their version of the facts. At one point of my Investigation, my interest in Death was more preponderant. The look and manner in which doctors deal with this phenomenon caused a turn in my thinking and work. Death for me does not mean a break, there are no limits between life and death. I follow some guidelines that link all my projects. I am interested in the hidden realities and the elements that hide these realities. I am obsessed with what is real and what is supposed to be real. The sciences and artistic practices are mixed in my concerns and projects as a consequence
Margarita González Lorente holds a doctorate in Art History from the University of Santiago de Compostela, the deputy director of the Wifredo Lam Contemporary Art Center and curator and artistic director of the Havana Biennial since 2015, as well as having served as artistic sub director of this meeting. She has written and lectured…
Susana Pilar Delahante Matienzo (1984) lives and works in La Havana. Her photographs, performances, and facilities address both issues related to Afro-Cuban culture and physical violences against women.