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Cuba is the largest country in the Caribbean. A participant in and of copious universal changes, it's been ruled in the past by Spain and the U.S. as well as a brief British occupation, creating a multi-cultural heritage heavily augmented by approximately 800,000 enslaved Africans brought mainly from West Africa, close to twice as many as the United States, between 1808 and 1820 during the sugar and coffee boom. A variety of situations and the melding of cultures fueled personal upheaval that conveyed profound depth of creativity to these islands.
“Afrocubanismo” is a parallel project meant to be viewed in conversation with “El Pasado Mío.” All of the artists featured in this exhibition were racialized as white during their lives, with the exception of Wifredo Lam, a celebrated Afro-Cuban painter, considered by some to be the most prominent — and by others, the only — Afrodescendant artist in Cuba in the 20th century.
The Lowe Art Museum at the University of Miami is celebrating that legacy with the largest survey of Afro-Cuban art ever staged. Two exhibitions bring together more than 100 works by 58 artists, tracing 200 years of creativity and exploring the many ways African heritage has shaped Cuban art.
Tangere toma el título de una sentencia que escribió John Alfred Charlton Deas en What the Blind May ‘See’: Some Museum and Other Experiments in Tactile Sight. En este libro, el museógrafo del británico Sunderland Museum narra las experiencias generadas en unas pioneras sesiones de inclusividad en las que personas invidentes, de distinto género y edad, tocaban y experimentaban los objetos de la colección. John Alfred Charlton Deas, al describir aquellos episodios, sentenció: To them, their fingers are eyes.
La Térmica inaugura Tangere, una exposición de pintura de Nacho Martín Silva pensada para visitantes ciegos y con discapacidad visual. Esta nueva producción propia, comisariada por Juan Francisco Rueda y desarrollada en colaboración con la Delegación de la ONCE en Málaga, estará abierta al público hasta el 20 de septiembre. Tangere involucra activamente a personas ciegas como colaboradoras en el proyecto, haciendo de la inclusión una parte esencial de la experiencia artística.
La nueva exposición de producción propia, comisariada por Juan Francisco Rueda y desarrollada en colaboración con la Delegación de la ONCE en Málaga, podrá visitarse hasta el próximo 20 de septiembre. 'Tangere' incorpora la participación de personas invidentes como colaboradoras del proyecto, haciendo de la inclusión una parte esencial de la experiencia artística.
El Espacio 23 Exhibition Reimagines Territory and Belonging
ArtBurst
In a city where borders feel permeable and reinvention is a local instinct, El Espacio 23 returns with a timely question: What is territory now? Is it land? History? A wound? A spiritual force? A place we inherit, or a place we imagine? That inquiry anchors “A World Far Away, Nearby and Invisible: Territory Narratives in the Jorge M. Pérez Collection,” the sixth exhibition at the contemporary art space founded by Miami developer, art collector and philanthropist Jorge M. Pérez.
Venice Biennale 2026 Highlights: Off-Site Exhibitions
Art Review
Roberto Diago’s Cuban Pavilion brings together rusted iron heads, fragmented wooden figures and small birdhouse-like structures that recall the structures of a shrine, shelter or prison cell. Installed within the rough brick architecture of the Venetian space, the works carry the appearance of things salvaged after collapse: weathered surfaces, patched timbers and bodies assembled from scraps.
En el Pabellón Cubano, un viaje físico y simbólico a través de la memoria afrodescendiente
Il Giornale Dell’Arte
En un contexto material, para su participación en la 61ª Exposición Internacional de Arte de la Bienal de Venecia, el artista Roberto Diago no representa la piel negra como una superficie pasiva, sino como un archivo de trauma, resistencia y supervivencia.
Writer Carmen Maria Machado Turns Curator for a Subversive New Show in New York: Rocío García
VOGUE
Themes of power, pain, desire, sexuality, and fear animate much of Machado’s work as well as García’s, making a multimedia collaboration between the two creatives feel especially apropos. Machado, who is also of Cuban descent, notes that while working with García, who lives in Havana, posed certain logistical challenges—“since bringing stuff out of Cuba is pretty hard right now”—encountering the artist’s work in person was a revelation.
Roberto Diago to Represent Cuba at the 2026 Venice Biennale With “Hombres Libres / Free Men”
BAM! Black Art Magazine
Afro-Cuban artist Roberto Diago brings a new salvaged-material installation to Cuba’s pavilion at the 2026 Venice Biennale, treating scar and surface as a language of memory, resistance, and survival.
Roberto Diago, protagonista del Pabellón de Cuba en La Bienal de Venecia
PAC
‘Hombres Libres’ es la propuesta de Roberto Diago para el Pabellón de la República de Cuba en la 61. Exposición Internacional de Arte – La Biennale di Venezia, que cuenta con el curador Nelson Ramirez de Arellano Conde y el comisionado de Daneisy García Roque. El proyecto, que podrá visitarse del 9 de mayo al 22 de noviembre, se ubica en Il Giardino Bianco – Art Space, situado en via Garibaldi 1814, entre los Giardini y el Arsenale.
El Espacio 23 Exhibition Reimagines Territory and Belonging
ArtBurst
In a city where borders feel permeable and reinvention is a local instinct, El Espacio 23 returns with a timely question: What is territory now? Is it land? History? A wound? A spiritual force? A place we inherit, or a place we imagine? That inquiry anchors “A World Far Away, Nearby and Invisible: Territory Narratives in the Jorge M. Pérez Collection,” the sixth exhibition at the contemporary art space founded by Miami developer, art collector and philanthropist Jorge M. Pérez.
Venice Biennale 2026 Highlights: Off-Site Exhibitions
Art Review
Roberto Diago’s Cuban Pavilion brings together rusted iron heads, fragmented wooden figures and small birdhouse-like structures that recall the structures of a shrine, shelter or prison cell. Installed within the rough brick architecture of the Venetian space, the works carry the appearance of things salvaged after collapse: weathered surfaces, patched timbers and bodies assembled from scraps.
En el Pabellón Cubano, un viaje físico y simbólico a través de la memoria afrodescendiente
Il Giornale Dell’Arte
En un contexto material, para su participación en la 61ª Exposición Internacional de Arte de la Bienal de Venecia, el artista Roberto Diago no representa la piel negra como una superficie pasiva, sino como un archivo de trauma, resistencia y supervivencia.
Writer Carmen Maria Machado Turns Curator for a Subversive New Show in New York: Rocío García
VOGUE
Themes of power, pain, desire, sexuality, and fear animate much of Machado’s work as well as García’s, making a multimedia collaboration between the two creatives feel especially apropos. Machado, who is also of Cuban descent, notes that while working with García, who lives in Havana, posed certain logistical challenges—“since bringing stuff out of Cuba is pretty hard right now”—encountering the artist’s work in person was a revelation.
Roberto Diago to Represent Cuba at the 2026 Venice Biennale With “Hombres Libres / Free Men”
BAM! Black Art Magazine
Afro-Cuban artist Roberto Diago brings a new salvaged-material installation to Cuba’s pavilion at the 2026 Venice Biennale, treating scar and surface as a language of memory, resistance, and survival.
Roberto Diago, protagonista del Pabellón de Cuba en La Bienal de Venecia
PAC
‘Hombres Libres’ es la propuesta de Roberto Diago para el Pabellón de la República de Cuba en la 61. Exposición Internacional de Arte – La Biennale di Venezia, que cuenta con el curador Nelson Ramirez de Arellano Conde y el comisionado de Daneisy García Roque. El proyecto, que podrá visitarse del 9 de mayo al 22 de noviembre, se ubica en Il Giardino Bianco – Art Space, situado en via Garibaldi 1814, entre los Giardini y el Arsenale.