The Presidency of the National Union of Writers and Artists of Cuba (UNEAC) and the Directorate of the Hermanos Saíz Association, issued a statement, May 3, expressing the absolute rejection of “any attempt to hinder or manipulate the institutional management and the projects of artists from Cuba and other countries that are underway for the 13th Havana Biennial,” one of the biggest visual arts events on the island, scheduled to be held April 12 through May 12, 2019.
”We will not allow the name and significance of the Havana Biennial to be tarnished, for which we are preparing, convinced that it will be the authentic popular festival of contemporary visual creation,” the text reads.
The statement denounces “the self-titled Bienal 00, which is masked behind demagogic and cynical phraseology, and organized with funds from the mercenary counterrevolution, whose sole purpose is to discredit the institutional system, confuse artists, and create a propitious climate to promote the interests of the enemies of the nation and the revolutionary work that the Havana Biennial and many other events with vast grassroots support have developed and promoted.”
The statement notes that “very few people, mostly without any relevant work, who, with nefarious intentions or through confusion, seek the notoriety that the mercenary platform and its overexposure in social media can offer,” have signed up to this event. They attempt to use “spaces without any importance beyond the failed attempt to attack cultural policy, many of them with activities outside the law,” the text explains.
In this regard, the statement reiterates that no malicious comment, attempt to distort Cuba’s cultural policy, or hoax, organized by unscrupulous people, “will make artists lose faith in a social process that has championed the arts and culture as one of its noblest accomplishments.”
The signatory institutions note: “Our artists appreciate that the platform of the 13th Biennial will host the most profound and experimental avant-garde creations with an inclusive spirit,” which is possible due to “the close relationship between artists and institutions,” that have jointly positioned the Biennial among the favorite spaces of the Cuban and international public.”