The eight narrations presented in the Cuban Pavilion incorporate a nonlinear flow between individual
and collective space, between discussion and deconstruction, between analysis and mental projection.
Each of these becomes a container of linguistic and aesthetic frontiers-a ‘sensitive’ space of mutations
and expansions. We are taken from the sociological horizon of Celia-Yunior’s Notes on the Ice and Stampone’s Casa particular to Luis Gómez Armenteros’s ironic reflections in La Rivoluzione Siamo Noi, as
well as the striking action of Lin Yilin’s video Triumph. And from Grethell Rasúa’s gesture–declaration
De la permanencia y otras necesidades and the “Flor Elena Resident” avatar in Susana Pilar Delahante
Matienzo’s Dominadoras inmateriales to the limits between current reality, memory, and dreamscape in
Lida Abdul’s In Transit and Olga Chernysheva’s Screens (selected artist for Okwui Enwezor’s exhibition
All the World’s Futures).