Not long ago, art critics coincided in celebrating the last solo show by Ivonne Ferrer (Havana, 1968), entitled (R) Evolution Comics (Aluna Art Foundation, Miami), where she approached the history of her mother country in a rather irreverent way. Carlos M. Luis, the late essayist of El Nuevo Herald, spoke of the exhibition as a “statement full of transgressive elements, where humor and, as is natural, nerve […] are not lacking. The imagination of the artist does not [either] stop on erotic topics (El Tabaco de las Indias – The Tobacco of the Indians). The handling of historical events […] has tonalities similar to those in Virgilio Piñera’s La isla en peso.”
From the pages of Art Districts magazine, Janet Batet deepened on Ivonne’s proposal, recommending that: “…to read these works correctly, the reference to two fundamental axes of Cubanity are required: transculturation and bantering. (…)
