Las Preocupaciones

February - April 2016

International Audience (To sell or not to sell)

Ezequiel Suárez is one of the most active members of the visual arts movement in Cuba. From late 80’s to the present his work has covered a wide range of styles including neo-conceptualism, neo-expressionism, neo-constructivism, surrealism, bad-painting and also performance and poetry. But his work is really hard to classify, as the artist himself seems to deny a fixed scheme or character, to always transmute into something new, or opposite.

The artist is one of those rara avis that we paradoxically find throughout history. A man of culture and a rebel, and above all, a fierce critic of the society he lives in, of the art word, of himself.

Suárez is, in addition, a brilliant poet that uses his own works as blank pages, filling in small pieces of paper, flyers, canvases with either his handwriting or a collage of words taken from the most extended journal in Cuba (the Communist Party Official Journal).

The insertion of an “uncomfortable” artist like Ezequiel Suárez into the reluctant art world, with all its élites and socialités, is something really difficult. Without banishing him, it seems that they couldn’t find a place for him to fit either, his work is too unpredictable, his attitude, too cynical and sharp. It’s very important to make room for the enfants terribles as they deny and reinvent every day’s well-established order, their works in the first row.

With an almost bulimic activity Suárez barely rests. As Beuys wanted, his art almost doesn’t establish differences with life; that’s why everywhere in his works we find images from the press, T.V, advertising, politics, music and art history. Hence, his poetry is born.

Lillebit Fadraga

La Habana, 2005