When you think on Cuban contemporary art a priori it is difficult to diagram a common topic line. Discourse proposals are as wide as the existing spaces for their spreading; it is a feature of post modernity the proliferation of trends, of artists, curators, art dealers, purchasers. Art in our country is living, stronger than ever, the experience of cohesion between painting, sculpture, installations, conceptualism, drawing, performances, photography, video-art, video performances, new means, etc.
Likewise, there are authors that has chosen the social criticism, the erotic, the afro Cuban visualization, the genre discourse, the landscape, the hedonism, the consumerism or the heinous.
But what happens when the artist’s interests go above the social problems, when his questioning becomes a reflection about art as such and about the theoretical, critique and investigative paraphernalia? What happens when the highly conventionalized means of communication are not enough for the individual expression?
It is how Yornel Martínez proposes his thesis, from the purest conceptualism, about post modern art and its theoretical course during the last 50 years. Statement, title of the exhibition opened last February 16 in the alternative space El Apartamento, refers to the culture, the critique, the post critique, among other learnings that comprise the curricular base of an artist.
Likewise, he establishes direct connections between personal creation and the theories that have supported the beginning and consolidation of hermeneutic movements, trends and methodologies.
His production comes from the whole involvement of the walls in the exhibition space ,with texts that go from the introduction and definition of essentially post modern concepts, to the dissimilar bibliographic references and quotations of philosophers, professors, artists, writers and theoreticians as renowned as polemic. That is the case of John Cage, Jacques Derrida, George Bataille, Harold Bloom, Rimbaud and Lezama Lima. The proposal is found as luck of mélange where the links are given by the artist, who is in charge of coherently connects each one of the obvious discourses. In Yornel Martínez’s words: “my intention is to create a poetic untranslated influence in terms of language”. Therefore, the objective of giving new semas to typical conceptions in the history of art is explicit, with the aim of asking oneself about the value of those terms, interpretative techniques and classifications which in a way, have created the foundations for future conjectures about the artistic creation .
On the other hand he sets groups, movements and trends like Dadá, Fluxus, the povera art, minimal and conceptual within the ideo-aesthetical possibilities of the twenty century, due to the aperture of the visual art and new expressive mechanisms. At the same time puts them as debtors Marchel Duchamp and the object trouvé, the one who made the target– book possible, the visual poetry and the “letrismo” that in this occasion is evident in his rhetorical. Yornel Martinez makes an interpersonal game with the receptor in which the premise of art for art´s sake and the inherent gesture supporting the theorical conceptual. Is in the very last, where in most of the time a total understanding of the works is achieved; and where positive or negative values are given to both, the author and to the work. It is not fortuitous, then, that one of the walls at the gallery has been selected for the bibliographic references that there are about him in magazines, blogs and catalogues. Thanks to the numerous publications, and to the signature of outstanding intellectuals in the field of national plastic art, it is possible to the author to establish his critique, his basis, his statement.