NKAME ARRIVES AT THE STATION MUSEUM OF CONTEMPORARY ART IN HOUSTON, TEXAS July 31st, 2018 Yadira Leyva Ayón © Belkis Ayón Estate After the successful presentations in different cities of the United States while traveling through this country, the exhibition Nkame. A Retrospective of the Cuban Printmaker Belkis Ayón (1967-1999), arrives at the Station Museum in Houston, Texas. The exhibition was inaugurated on the night of June 2nd in an atmosphere full of friends, excellent music, and lovers of good art. The masterful curatorship of Cristina Vives, stood out on this occasion thanks to a curatorial idea that was brought to reality, thanks to the efforts of the Museum staff and its Director James Harritas: many of the large-format works obtained three-dimensionality when placed on walls, specially built for each piece, resulting in a very positive visual impact, with the pieces obtaining an unprecedented monumentality. In addition, this exhibition will feature a book/catalog on the exhibition and the life and work of Belkis Ayón, entitled Behind del veil de un myth. Produced by the Station Museum and the Belkis Ayón Estate, with texts by Cristina Vives and design by Laura Llópiz. The exhibition will be open to the public until September 3, 2018. PREVIOUS NEWS NEXT NEWS

NKAME: A RETROSPECTIVE OF THE CUBAN PRINTMAKER BELKIS AYÓN (1967-1999) Chicago Cultural Center, Chicago, Illinois, United States February 29, 2020 The traveling exhibition Nkame: A Retrospective of the Cuban Printmaker Belkis Ayón (1967-1999) was inaugurated on February 29, 2020, at its sixth venue, the Chicago Cultural Center. A project organized by this prestigious institution and the Belkis Ayón Estate, Havana, Cuba. The exhibition is curated by Cristina Vives. Exhibition Tour Management by Landau Traveling Exhibitions, Los Angeles, CA.

PALMA DIGITAL AWARD 2015 GRANTED TO THE WEBSITE OF THE ARTIST BELKIS AYÓN November 14, 2015 Yadira Leyva Ayón © Belkis Ayón Estate The team made up of the Belkis Ayón Estate and CarDanSoft, creators of the website of the artist Belkis Ayón, received Friday morning, November 13, the 2015 Palma Digital Prize awarded by CUBARTE, in the category of Personal sites and blogs from cultural profile. PREVIOUS NEWS NEXT NEWS

THE AYÓN ESPACE The Ayón Space, the original idea of Dr. Katia Ayón, Belkis Ayón Estate, was a project presented to Cuban cultural institutions in 2004, on the fifth anniversary of the artist's physical disappearance. It was conceived as a permanent space for the exhibition and conservation of Belkis's graphic work and as a place for promotion and support for young printmakers, one of the missions assumed by Belkis Ayón from her position as an exceptional pedagogue. Numerous artists and intellectuals, especially Antonio Martorell and Humberto Figueroa, supported the initiative, which is still waiting for its materialization, and argued, from different perspectives, the need to found it. Goals: • Permanently display the artist's work. • Promote the work of young artists whose main line of work is printmaking. • Offer summer workshops to young national and foreign artists. • Establish the BELKIS AYÓN National Contest of Collography that allows the participation of young and established artists, of national and international character, in collaboration with other art institutions. • Establish links with the community near the place to integrate it into the public activities of the space. • That they can access the valuable and vast bibliography, property of the artist Belkis Ayón: students, ethnographers, sociologists, anthropologists, artists, historians, and teachers.

Exhibiciones personales y colectivas de la grabadora cubana Belkis Ayón (1967-1999). EXHIBITIONS PE RSONAL EXHIBITIONS COLLECTIVE EXHIBITIO NS

IV Edición del Concurso Nacional de Colografía Belkis Ayón, 2021 IV National Collography Contest Belkis Ayón ANNOUNCEMENT The National Council of Plastic Arts, the Union of Writers and Artists of Cuba (UNEAC), and the Graphic Society of Cienfuegos, in coordination with Espacio Ayón, the Estate of Belkis Ayón, the Provincial Council of Plastic Arts, the Provincial Committee of the UNEAC and the Cuban Fund of Cultural Assets of the province of Cienfuegos, summon all interested artists and students to participate in the IV National Contest of Colography Belkis Ayón in tribute to one of the Cuban artists who marked, with her graphic work and pedagogical, a milestone in the history of Engraving in Cuba. Basis of Participation All Cuban students and artists with engravings made in the COLLOGRAPHY technique, printed between 2019 and 2020, who have not participated in a previous exhibition, event, or contest, may participate. Inscription The works must be sent unframed, through certified mail or in person, until March 18, 2020: To the Association of Plastic Artists of the UNEAC of Havana, appointment at 17 and H, Vedado. Tel. 78325781, in the case of artists and students residing in the western provinces (Pinar del Río, Havana, Artemisa, Mayabeque, Matanzas and Isla de la Juventud) To the Graphic Society of Cienfuegos, appointment at Ave. 50, # 2326, between Calle 23 and Calle 25, Cienfuegos 1, Cienfuegos. Tel. 43 517979, in the case of artists and students residing in the central provinces (Villa Clara, Cienfuegos, Sancti Spiritus and Ciego de Ávila) To the Caguayo Foundation, appointment at Calle 4 No. 403 between 15 and 17, Rpto Vista Alegre, Santiago de Cuba, CP 90400, Tel. 22 643492, in the case of artists and students residing in the eastern provinces (Camagüey, Las Tunas, Holguín, Granma, Santiago de Cuba, Guantánamo). Each artist will have the right to present three works (independent or triptych) duly signed and numbered in pencil, which cannot exceed 60 x 80 cm (paper measurements). Workshop or artist tests are not accepted. Selection A Jury will be appointed to select and award the works received. The selected and awarded works will be exhibited at the Cienfuegos Art Gallery, within the program of the 14th Feria de La Estampa, an event that will be officially inaugurated on April 9 and until April 12, 2020, making the final decision of the jury public. on April 9, at 9 pm, the opening day of the competitive exhibition. The exhibition will remain open to the public for 30 days. It will also be presented at the Casa del Benemérito de las Américas Benito Juárez of the Office of the City Historian, Havana, in 2020. The organizers of the contest are responsible for the care of the works sent, running with all the expenses generated by the return of the same to their authors. Prize A single and indivisible Grand Prize will be awarded consisting of 5 000.00 MN (donation from the artists belonging to the Belkis Ayón workshop and Estate), a diploma, and a reproduction of a work by the artist to whom the contest is dedicated. The Jury will award mentions at its discretion, without a financial award. The awarded artist will be invited to the Engraving Workshop "Magenta Rhinoceros" in the city of Toluca, Mexico, for a 10-day artistic residency. The winning works will become part of the Cienfuegos Stamp Cabinet. The awarded artist will be invited to carry out a personal exhibition at the Cienfuegos Art Center in 2022, within the official program of the V National Contest of Collography. The works not selected must contact the Organizing Committee for their return. Participating in the Belkis Ayón National Coloring Contest implies acceptance of these Terms and Conditions. The Jury's decision will be final. More information Organizing Committee of the Belkis Ayón National Coloring Contest ESTATE OF BELKIS AYÓN, HAVANA belkat@cubarte.cult.cu | 7 642 3083 GRAPHIC SOCIETY OF CIENFUEGOS caceres69@azurina.cult.cu | 43 517979 www.ayonbelkis.cult.cu

DRAPETOMANIA Galería de Arte Universal, Santiago de Cuba, Cuba / Consejo Nacional de Artes Plásticas, La Habana / 8th Floor Gallery, New York, United States / Museum of the African Diaspora, San Francisco, California, United States / The Ethelbert Cooper Gallery of African & African American Art, Harvard University, Boston, Massachusetts, United States. April, 2013 - 2015 The exhibition Drapetomanía: Grupo Antillano y the Art of Afro-Cuba, which was presented in Santiago de Cuba and Havana, arrives at Harvard University after having been shown in New York and San Francisco. Originally exhibited at the Provincial Center of Plastic Arts and Design in Santiago de Cuba (April-May, 2013), where it was described as "one of the best exhibitions of plastic arts in recent years in Santiago de Cuba," Drapetomanía now travels to the Ethelbert Cooper Gallery of African and Afro-American Art at Harvard University after have been exhibited at the Center for the Development of the Visual Arts in Havana, The 8th Floor Gallery in New York and the Museum of the African Diaspora (MoAD) in San Francisco. Drapetomanía pays tribute to Grupo Antillano (1978-1983), a previously forgotten cultural and artistic movement, which proposed a vision of Cuban culture that highlighted the importance of African and Afro-Caribbean elements in the formation of the nation. The exhibition offers a revisionist reading of the so-called “new Cuban art” and highlights the need to include the work of artists who tried to think about the Cuban from their connections with the African diaspora. Grupo Antillano's art is part of a long Caribbean tradition of resistance and cultural affirmation, of that "prodigious effort of self-defense" and of "ideological cimarronearía" that, according to the Haitian poet René Depestre, allowed the enslaved masses of the hemisphere rework their pasts and cultures. The title of the show, Drapetomania, refers to an alleged illness described in the mid-19th century by a plantation physician in Louisiana. From the Greek drapetes (escape, flee) and mania (madness), the most visible symptom of this curious disease was the irrepressible and pathological tendency of many slaves to flee and be free. In other words, the doctor described maroon as a disease, a disease, a deviation from the natural order, an expression of the indomitable savagery of blacks. Curated by historian Alejandro de la Fuente, professor at Harvard University, the Drapetomanía exhibition is complemented by the book Grupo Antillano: el arte de Afro-Cuba, edited by the curator of the exhibition, with essays by art critics and historians like Guillermina Ramos Cruz, José Veigas and Judith Bettelheim. The exhibition includes works by Grupo Antillano artists (Esteban Ayala, Rogelio Rodríguez Cobas, Manuel Couceiro, Herminio Escalona, Ever Fonseca, Ramón Haiti, Adelaida Herrera, Arnaldo Rodríguez Larrinaga, Oscar Rodríguez Lasseria, Alberto Lescay, Manuel Mendive, Leonel Morales, Clara Morera, Miguel Ocejo, Rafael Queneditt and Julia Valdés) and a group of contemporary artists who have shown in their work similar concerns to those articulated by Grupo Antillano (Belkis Ayón, Bedia, Choco, Diago, Esquivel, Marta María Pérez Bravo, Montalván, Olazábal, Douglas Pérez, Peña, Elio Rodríguez and Leandro Soto). In other words, Drapetomanía proposes a new genealogy in Cuban plastic arts that connects creators from generations and diverse artistic trajectories through their shared attention to issues such as race, identity, and the meanings of the Cuban. The show will be exhibited at Harvard from January 29 to the end of May of this year. Information provided by Alejandro de la Fuente, Curator.

EVA LEAVES AND TAKES FLIGHT. EVA CEASES BEING A RIB Havana, Cuba. October 13, 2014 As part of the visual arts event Ellas Crean , sponsored by the Embassy of Spain in Cuba, it was inaugurated in October 2014, the exhibition Eva leaves and takes flight, Eva ceases being a rib, with the curatorship of Gabriela García Azcuy. This exhibition shows the works of five outstanding women in the world of Cuban visual arts: Aimeé García, Belkis Ayón, Cirenaica Moreira, Rocío García and Sandra Ramos; which despite having begun their struggle for the plastic arts in the late 80's of the last century, have maintained, in the words of the curator, that "female protagonism, which twenty-five years later, remains in the art scene of the Island like an already stainless spring". Participating artists: Aimeé García, Belkis Ayón, Cirenaica Moreira, Rocío García, Sandra Ramos.

Exposiciones personales de Belkis Ayón (1967-1999) SOLO EXHIBITIONS Barker Gallery at the Jordan Schnitzer Museum of Art, Eugene, Oregon, United States. February 6, - September 5, 2021 Nkame : A Retrospective of the Cuban printmaker Belkis Ayón (1967-1999) Read more Chicago Cultural Center, Chicago, Illinois, United States. February 29, 2020 Read more Nkame : A Retrospective of the Cuban printmaker Belkis Ayón (1967-1999) Scottsdale Museum of Contemporary Art, Arizona, United States. October 13, 2018 - January 20, 2019 Nkame : A Retrospective of the Cuban printmaker Belkis Ayón (1967-1999) Read more Station Museum of Contemporary Art, Houston, Texas, United States June 2, - September 3, 2018 Nkame : A Retrospective of the Cuban printmaker Belkis Ayón (1967-1999) After the successful presentations in different cities of the United States while traveling through this country, the exhibition Nkame. A retrospective of the Cuban engraver Belkis Ayón (1967-1999), arrives at the Station Museum in Houston, Texas. The exhibition (...) Read more Kemper Museum of Contemporary Art, Kansas City, Missouri, United States January 25 - April 29, 2018 Nkame : A Retrospective of the Cuban printmaker Belkis Ayón (1967-1999) Read more Museo del Barrio, New York, United States June 13 - November 5, 2017 Nkame : A Retrospective of the Cuban printmaker Belkis Ayón (1967-1999) Read more NEXT

RESLESSNESS / RESLESSNESS Belkis Ayón Manso When Darrel Couturier sent to request by fax the title for this exhibition he still did not have it, he had not even thought about it, to be honest. That day I had a great commitment to attend the opening of the first personal exhibition of two of my students. After finishing my work as a spectator and as a guardian angel (teacher), I went to my friend Cristina's house where I would meet Rafa who would bring the letter to Darrel with the title of the exhibition. When I left this other, nothing occurred to me - I entered a state of desperation imperceptible to the eye - again showing my moderate personality, less to laugh and do great colography. I thought about the works that I had already finished and I asked myself what feelings they have in common, since in general I have been working on the subject for years - and I associate it a little with what I have been feeling in recent months, a great UNREST, something that almost unconsciously my work began to appear. As, I previously mentioned the subject that I have been working on for years, since I began to study in the 3 year of the San Alejandro Academy, it is one of the components of Cuban culture on the African side, the carabalíes and of them, the Secret Society Abakúa, made up only of men, which emerged in the 1930s in the 19th century in Cuba. Above all, I intend to give my vision, my point of view as an observer, presenting in a synthetic way the aesthetic, plastic and poetic aspect that I have discovered in Abakúa relating it to the questioning of the nature of man, with personal experiences, that feeling that sometimes it captures and we do not know how to define them, with those fleeting emotions, with the spiritual incorporating symbols from other cultures that I use to express my ideas with greater richness and quality. I work with characters such as the leopard man, identifying with him the power, the composition, the aggression of society, a male who sacrifices Sikán, a woman who discovers the secret and dies for the sake of it passing to men and not disappearing. The secret consisted of a voice, SACRED VOICE, produced by a FISH discovered by her when she returned from the river, the fish was the reincarnation of Old Obón, Tanzé, of Abasí, the Supreme God. The transmission of the sacred voice was finally settled on the hide of a goat vibrating on the sacred drum of EKUE. My images come to them through the technical colography of engraving that consists of a kind of collage printed with a wide variety of materials placed and glued on a cardboard support. Sikán, a woman who prevails in the works presented because she, like me, lived and lives through me in uneasiness, insistently looking for a way out. Belkis Ayon Havana, Cuba, January 1998 BACK TO REVELATIONS NEXT ARTICLE

BONDED BETWEEN THE ESOTERIC AND MANIC ART October 6, 2014 Cecilia Crespo © OnCuba Magazine Under the title of Witches, but also Warlocks, the Aglutinador space and the Maniac Art Museum these days exhibit a sui generis exhibition that blends art with rites and religious beliefs from different parts of the planet. Celebrating its twenty years, this space for creation and exhibition directed by the artist Sandra Ceballos, brought together nearly fifty people in this exhibition where spirits, amulets, orishas, paranormal events, and energy are the protagonists. Artists, esoterics, astrologers, researchers, healers, ritualists, believers, practitioners, mystics, both Cuban and foreign, invoke magic, sensuality, and spirituality through various techniques, styles, textures, genres, and both conventional and experimental expressive possibilities. The show, made up of 38 works, can be seen until the end of this month in the colonial house of Alfredo Ramos, on Línea106, permanent headquarters of the Museum of Maniac Art in Havana. Sandra Ceballos told OnCuba that the exhibition is not about showing religious or folk art. The artistic intention is to excavate in the enigmatic presence of the "Eggun or dead as the matrix of all clandestine psychophysical phenomena, legitimize and qualify precisely those intelligent energies that do not sin as egocentric and that are possibly more authentic and spontaneous than the material world." “Defend their spokesmen, historically discriminated against and repressed by 'science'. To investigate the 'vaporous intervention' of spirits in life, that is the objective" she added. Bruges ... puts an extensive catalog for the consideration of disbelievers and faithful, impossible to visualize and enjoy all at once. It has works by renowned intellectuals and artists such as the researcher Natalia Bolívar, who exhibited her voodoo dolls in a glass case called "Five Spirits." You can see an installation with ashes of human corpses, by Iván Perera, from his series Immanents. Digital impressions of Álvaro José Brunet, Susan Bank, Rodney Batista also join the show together with works by Javier Alejandro Bobadilla Díaz, José Bedia and Juan Francisco Elso Padilla. A video installation by Tania Bruguera is exhibited that records the petition to the Pope to support the immigrant and undocumented community to apply for the 2014 Vatican City citizenship. You can also see an interesting photograph of the Colón Cemetery, in silver on gelatin, by Pedro Abascal from 1983. From Santiago Rodríguez Olazábal, recognized for addressing religious themes in his work, there is a large-format card: "Evil entered him from below." A video-projection of Marta María Pérez Bravo is included, one of the most spiritual pieces, without a doubt. The installation "EPD" by José Ángel Vincench: gold dust on sheets and candles and a painting from the 2010 Manuel Mendive National Prize for Plastic Arts, are other main attractions of the selection. The Canadian duo The Fastwurms (Kim Kozzi and Dai Skuse), with their medieval witch costumes, including a conical hat, arrived with their "Love is Law" installation of varying dimensions: a large spider web made of black bras. Also memorable is “Incompetent King” by Hugo Consuegra, ink and pen on cardboard (1959), and Roberto Diago's work, “Motivo de bosque”, a mixed technique on masonite from 1993, of great vitality and expression as much of his work. Espacio Aglutinador will continue to exhibit genuine and transgressive art as an “emergency room” and autonomous plaza for the promotion and development of Visual Arts, as its founder explains: “This exhibition gives continuity to the work of our non-exclusive space to disseminate the witchcraft of the world, from the dawn of humanity to the present day, passing through the traditions, religions, spells, enchantments, and philosophies of various places and historical moments. As has already been demonstrated on other occasions, Aglutinador is always renewing itself to create alternative projects to its alternativeness ”, concluded Sandra. PREVIOUS NEWS NEXT NEWS

AT THE HEAT OF THE THOUGHT. WORKS FROM THE DAROS LATINOAMERICA COLLECTION Santander Group City Art Room, Madrid, Spain . February 3 - April 30, 2010 Director Daros Latinamerica Collection: Hans Michael Herzog The Daros Collection, one of the most important contemporary Ibero-American art collections in the world, arrives in Spain with an exhibition of 70 works and 22 artists presenting the current Ibero-American art from the aesthetic, conceptual, and allegorical aspects. The exhibition proposes a permanent interaction between the work and the public in a true challenge for the senses. “At the heat of the thought. Works from the Daros Latinamerica Collection ”, is the title of the exhibition that, from February 3 to April 30, 2010, is being organized by the Banco Santander Foundation in the Santander Group City Art Room. The Director of the Banco Santander Foundation, Borja Baselga, and the Director of the Daros Latinamerica Collection, Hans Michael Herzog, accompanied by several artists participating in the exhibition such as Julio Le Parc, Humberto Vélez, Oswaldo Macia Gómez, or Los Carpinteros inaugurated the exhibition together with the Commissioner, Katrin Steffen. “It is not just another exhibition,” said Borja Baselga, Director of the Banco Santander Foundation at the press conference, “each of the pieces has an intellectual, social background, a different way of approaching reality, the imaginary, to the extreme situations of our society ”. There are twenty-two artists and seventy creations that not only make up a selection of the highlights of the Daros Latinamerica Collection - the most important in Europe in contemporary Ibero-American art - but also reflect its essence in a spectacular assembly that continuously dialogues with the public through each and every one of his proposals from the conceptual to the aesthetic and allegorical, as Liliana Porter proposes so that we become transformers of her work by tearing it off and throwing it to the ground, constituting capricious forms. Also, noteworthy, for the first time in the Daros Collection is the exhibition of the work of José Damasceno, The Next Presage, Leandro Erlich, The Doors, various engravings by Liliana Porter, and the performance drawings by Marta Minujín. This is a journey through the classical masters of contemporary art from the Ibero-American continent from Mexico to Argentina passing through Brazil in a space of three thousand square meters. Prestigious authors not only aesthetic but also symbolic and committed, such as Carlos Amorales, Belkis Ayón, Los Carpinterios, José Damasceno, Gonzalo Díaz, Leandro Erlich, León Ferrari, Rafael Lozano-Hemmer, Jorge Macchi, Oswaldo Macia Gómez, Marco Maggi, Cildo Meireles, Marta Minujín, Vik Muniz, Óscar Muñoz, Julio Le Parc, Liliana Porter, José Alejandro Restrepo, Miguel Ángel Rojas, Betsabé Romero, Doris Salcedo and Humberto Vélez. A review of the extensive range of proposals that includes contemporary Ibero-American art - visual and auditory arts, virtual reality, social symbolism, modes of cognition and perception - from the most veteran present authors, León Ferrari (1920) and Julio Le Parc (1928 ) to the youngest such as Leandro Erlich (1973), Los Carpinteros (1971) or Carlos Amorales (1970). The title of the exhibition, At the heat of the thought, comes from a fascinating work by Chilean Gonzalo Díaz inspired by the 18th-century German poet, Novalis, specifically in the words which he begins his collection of fragments known as Blütenstaub (Pollen grains): "We look everywhere for the unconditioned and we find only things." The appointment is written by means of electrical resistances placed on ceramic tiles and it is heated at regular intervals until it turns red hot. This continuous interaction is what makes this show and its assembly unique. A TOUR THROUGH THE EXHIBITION Ayate Car, by the Mexican Betsabé Romero, part happening and part installation is a Ford Victoria car decorated and upholstered in dry roses that dialogues in the foreground of the Room with the majestic tapestry of Brussels, The exaltation pf the Arts, woven at the end of the reign of Felipe IV in the workshop of Jan Leyniers and belonging to the Santander Collection. Ayate Car develops that committed aspect of Ibero-American art, by sending the artist this car from the 1950s from Mexico City to Tijuana, causing the illegal entry of the vehicle into the United States and immediate deportation, leaving the car in "no man's land" of the border as a symbol against the mistreatment of illegal Mexican immigration. Julio Le Parc, one of the classic voices of Ibero-American art, was inspired by sources outside the art system, using movement and artificial light as materials in his Lumières alternées, a rhythmic pulsation of lights and shadows with a view to transforming architecture in a moving force field. His photokinetic experiments allow him to analyze the visual process. Leandro Erlich, one of the youngest Argentine authors in the show, investigates optical illusions from a new perspective, using them as an artistic medium. In his installation The Doors, the public is faced with a series of locked doors, through whose cracks and keyholes the light filters in abundance. One can only open them. In Superficial Tension, the Mexican Rafael Lozano-Hemmer confronts the audience with a gigantic human eye that, through a monitoring system, records the movement that occurs around him, representing the intimate exchange between the work and the person who is contemplating it. The engravings of the Argentinean Liliana Porter show that the interaction between the public, the work, and the artist constituted the fundamental element of an aesthetic that emerged in the 1960s, whose purpose was to develop new forms of art beyond institutions and categories. In the middle of that decade, Porter founded the New York Graphic Workshop, a collective initiative aimed at disseminating works of art in series. The most paradigmatic example of this concept was To Be Wrinkled and Thrown Away where the title itself is responsible for providing instructions for use. Of the different artistic fields handled in the exhibition, another Argentine, Marta Minujín, presents several drawings of her most relevant public activities - known internationally for her performances and happenings - with which since the 1960s she has been radically questioning the relationship between art and public. Thus, in 1983, for example, he built a scale model of the Parthenon in Buenos Aires, his hometown, using books that had been censored during the Argentine dictatorship, whose drawing is exhibited in this exhibition. León Ferrari, the oldest artist on the tour, is often inspired by political motives, and his projects reveal another aspect of rampant urbanization and the resulting chaos. The series exhibited includes traffic arteries, cars, and stereotypical figures such as visions or caricatures of reality and was created in the early 1980s in São Paulo. Brazilian Cildo Meireles captures the symbiotic relationship of madness and reason in an enigmatic and global image mounted with rings and chains. Vik Muniz's WWW (World Map) —a world map made up entirely of out-of-date computer parts— wants to warn us in his work that the global network becomes the mere sum of its unconnected, useless components, ultimately seeking new definitions of the photographic media. The Cuban artists that form Los Carpinteros cooperative, resort to crazy drawings and objects to sketch a private world as a paraphrase of the present, sprinkling it with humorous allusions and abounding in sarcastic comments about everyday life in Cuba, such as their Wooden and Metal Umbrella. For its part, the also Cuban Belkis Ayón is inspired by the realization of her engravings as artistic meditations on the legends of the Abakuá, an Afro-Cuban secret society dedicated exclusively to men. The radio transmission of the exhibition space itself of a fictitious horse race incites the Panamanian Humberto Vélez in La Carrera (classic VII Biennial of Panama) to criticism and parody of competitive social systems. For his audio installation, titled Something Going On Above My Head, Colombian Oswaldo Macia Gómez composed a symphony based on the song of two thousand birds from four continents. He is interested in the development of a universal language as a challenge to perception. The installation on the Hotbed floor, by the Uruguayan Marco Maggi, resembles instructions to perceive slowness and silence, a kind of Zen garden with minimal creations from microscopic precision incisions made on snowy paper. The work invites the viewer to discover a new sculptural universe. Carlos Amorales has been working on his own language to express speech coding and intuitive perception, continually expanding the digital archive of images that have become his iconographic background. The Liquid Archive motifs — hybrid creatures, masks, airplanes, etc. — produce surreal and threatening parallel worlds. In his O presságio Seguinte (experience on the visibility of a dynamic substance), José Damasceno addresses the changing dimensions of a world in constant motion. The installation gives priority to proximity and encounter using physical stimuli (space, shapes, materials) to lead its viewers to the nodal point of the interpretive threads. Another Colombian, Oscar Muñoz, carries out an exhaustive analysis of the processes of perception and our ability to remember with Breath, where when we exhale our breath on glass the face of a disappeared person in Colombia emerges. Likewise, in the work of José Alejandro Restrepo, the role of death as a counterpart of life and co-architect is also revealed. Jorge Macchi fights against oblivion by providing press articles on murders in a fragile collage and emphasizing that news that readers often forget as soon as they turn the page. Placed horizontally, the articles finally enjoy space to narrate their tragedies. Marginalization and hegemony, as well as the effects of war, are the main artistic concerns of Miguel Ángel Rojas and Doris Salcedo. Rojas presents in large format black and white photographs a mutilated soldier of the Colombian army, whose posture reminds us of the famous David by Miguel Ángel. Doris Salcedo transforms political and social processes into disturbing sculptures - November 6 - that speak about desire and loss, of presence and absence, like this spectacular assembly of chairs and a room. THE DAROS LATINAMERICA COLLECTION More than 1,300 pieces and 100 artists make up the Daros Latinamerica Collection, with a European headquarters in Zurich and an American branch in Rio de Janeiro. The collection was instituted in 2000 under the direction of Hans Michael Herzog and it includes the majority of contemporary artists from Mexico to Tierra del Fuego who have or will have an important impact on contemporary art from twenty years ago until now. Also, the collection presents emblematic pieces from the sixties and seventies and both Latin Americans residing in Europe and Europeans who have their definitive residence in Latin America. The oldest work in the Collection is a Torres García from 1938. Herzog affirms “the collection is as varied as the age of the artists, and what we want is to contribute to a better understanding of Ibero-American art outside its borders” since what fascinated him is that in these countries, "You think more intensely." Ruth Schmidheiny is the owner of this Collection. Participating artists: Carlos Amorales, Belkis Ayón, Los Carpinteros, José Damasceno, Gonzalo Díaz, Leandro Erlich, León Ferrari, Rafael Lozano-Hemmer, Jorge Machi, Oswaldo Macia, Marco Maggi, Cildo Meireles, Marta Minujín, Vik Muniz, Oscar Muñoz, Julio Le Parc, Liliana Porter, José Alejandro Restrepo, Miguel Angel Rojas, Betsabeé Romero, Doris Salcedo, Hunberto Vélez.