(…) At this time, in the exact moment that the 12th Havana Biennial is bursting in all the galleries, Rocío García is opening a solo exhibition, The Mission. Nothing more and nothing less than a graphic novel of 32 assembled paintings. Secret super agents, mutants in the X-Men style, femmes fatales and sadomasochism… an entire anomalous cocktail for national literature as well as for Cuban art. Imagine the enormous walls of Factoría Habana, the gigantic prop of its second floor, literally illustrated, sequenced, narrated in comic time: “The Czarina, a super special agent, a sort of 21st century Mata-Hari, is chosen for the rescue mission of agent Sireman (000S agent), who it seems…”.
This is how everything begins. Seven mega-pages for seven walls. And in the moment in which The New York Times is stating that the future of fiction is in graphic novels, Rocío turns up with The Mission: a cross of police story, superhero comic and temporary uchronia exceeding in several aspects all that Young Cuban Writers have written. It had been a long time since Cuban art—prone to endogamy and slaps on the back—had not been so Tarantinesque. RocíoGarcía achieves the most contemplative and novelistic series of her entire career, one of whose virtues—not the minor one—is the incorporation of texts (dialogues, sayings and aphorisms) in the morphology of the paintings. Because, we must say it: Rocío narrates devilishly well. Entering The Mission is easy. What is difficult is leaving. (…)