En un Minuto: amigos o enemigos

Contemporary society operates on binary constructions that by definition exclude intermediate processes. Following a model that elaborates notions that only fit into two opposing realities -love and hate, hot cold, good bad- the subjects are lost between two invisible and at the same time violent poles.

In these moments of dichotomy, fragmentation and radicalism, I do not find a more revolutionary and encouraging position than working with friends, but the most important thing is to work with subjects that are not neutral.
There are many possibilities between two points; geometry teaches us that the definition of a line is the distance between two points and that, paradoxically, this distance is drawn by a continuum of dots. Therefore, two-dimensional representation is based on figures that go from one place to another leaving a trail of possibilities, however if they do not reach a particular spot they become infinite.

However a point is also the meeting of two lines; to this extent, a discourse, that is to say a narration that goes from a be-ginning to an end, is constructed from an infinite number of edges, or encounters between realities that can be interpreted according to each individual. For Borges there are as many Quixotes as readers of Don Quixote.
In what way and since when did culture ignore its own mathematics and allow a binary system to dominate its hermeneu-tics?
The tools for war, designed to produce fear and paranoia, triumph by creating opposites. If one thing opposes another, it eliminates the space for possibility, speculation and, therefore, poetry.

Why are dictatorships afraid of poets? What hidden power can lyrics, melodies or silhouettes contain?
From a language that does not belong to the human realm as it does not recognize random or hysterical emotions, history has been dedicated to reducing relations to binary possibilities.

The medieval fortresses and the walled cities were built with the firm intention of preventing the access of enemies and at the same time of hindering the departure of friends. Manifested in architecture and in societies, the need to control and retain has been a human obsession. Sacred / secular, good / bad have suffocated permeable structures in which com-munity could be understood as a valid type of economy.

The pre-Hispanic cultures practiced exchange as a market system since concepts as foreign or own vanished in everyday life logic. When the Europeans started their extraction processes that made some people rich while leaving some other poor, they closed, in the manner of a medieval fortress, the possibility of existing outside the limits of an economic and religious system, which dissociates human from the inhuman and the celestial from the diabolic.

The retaining walls used by civil engineers to stop landslides caused by artificial topographic modifications generate a disturbing metaphor about the limits between the natural and the industrial. These constructions, that share its material with what they are supposed to contain or support, can be understood as an allegory for the blurriness of borders.

On the other hand, the Cold War, the ghostly legacy of the XXth century, continued to divide, between two other poles -Communism and Capitalism- a world already stunned by colonialism. In order to prevent Cuban citizens from fleeing Cuba, all types of vessels were forbidden by law. From the mainland, the humanless horizon deepens the feeling of confinement suffered by the inhabitants of the island; this sensation is further reiterated by the urban myth, which tells that on clear nights you can see the lights of Miami from La Habana. In Cuba, the enemy is the future friend.

This exhibition, pertinent in this moment of political extremes, proposes a heterogeneous, multiple and organic reading of human relationships. Through this dialogue between friends, artists motivated by trust, this exhibition is not a neutral expe-rience.