As part of a rather atypical Havana Biennial—because if this one has had something is the difference between it and its predecessors as to social projection and interaction and the inversion of the focus of attention from international to domestic—, the launching of a substantial number of publications occupied a very visible segment in the program.
Magazines, catalogues and books put into circulation marked a guideline to highlight because of its diversity, relevance and conceptual and aesthetic underpinning, in tone with a mega-event which shook several areas of the Cuban capital. This increase in printed publications is surprising if we take into consideration this has been one of the limitations that with the greatest impact has burdened the promotional and analytical reach of visual arts in Cuba. (…) So it is difficult to find critically and visually arguable testimonies which would allow to maintain alive the memory of events, figures and processes, something indispensable for critics, artists and fans. (…)
However, between May and June in this 2015, coincident with the 12th Biennial and in the midst of the digital era, where computers reproduce photos, works, information, fiction or simply leisure texts with amazing immediacy, an editorial phenomenon surprised the participants in the artistic forum because of the abundant production of books, catalogues, pamphlets, tabloids, postcards and all printing that was possible in the most varied supports. (…)
Havana, summer 2015
