The curator proposes axioms that invite analysis of the conflict in the artists' profession. Where they find it, how they do it, when the conflicts that define the lives of women artists are recognized and projected in the production and conception of their works, how much pressure they feel in the process of creating their works, how they manage to get out of those conjunctures and how they express - sometimes - in an unpremeditated way that reality.
All of these conceptualizations have been the focus of my attention for over a year. It has been an arduous, daily and violent battle. Waking up every day and feeling incapable of fighting the conflict that has plagued me during this time. This curatorial project is the fruit of a personal situation that has placed me in the award-winning position of the “victim”. A movable piece, which has played its role within the bad practices of some public institutions in Cuba. At the beginning of 2019, I had to maintain regular email communication with several Cuban officials: three men and one woman. The emails exchanged were intended to clarify and bring to a successful conclusion the criminal act of appropriation of other people's property, the main reason for my claim to those instances. During the weeks that we kept in contact, the treatment given by my "female counterpart" became ironic and even attacked me verbally, uttering in one of his messages that, due to my behavior, I was a very conflictive person. At this point, as a citizen who claimed her rights before the state, I questioned why another woman was unable to show empathy with my situation. Until I understood that in these conversations we both lost all kinds of roles, beyond:
Her: A representative of the law
Me: A very conflictive person