(…) Bésame mucho (October 2014-February 2015) is an ironic love claim emphasizing the illusion of a dialogue between authorwork and the occasional reader of a vital process, translated into an object, an installation or a pictorial device. It seems Ponjuán assigns the images-figures to the common audience and the ideas-obsessions to himself. The “apparent nothing” or “essential void” as “absolute falseness of things” derives into an earthly, affective and transparent synthesis in the solitude of his conscience. Why relapse into the intellectual pose of transmitting a message? That is what street chitchat or electronic communications are for. The very title of the exhibition is a “paradox of desire” as a veiled sarcasm for those who yearn for (or intend to impose) a consensus of massive acceptance.
(…)Bésame mucho is an oath of loyalty to pious betrayals. Conjunctions and disjunctions of time and space, psychophysical determination to find the non-violent station of Being for Life. Recount of closings and openings, where the virtual subject of a “patient restlessness” plays the main role. (…)
Someone said Eduardo Ponjuán’s exhibition in the National Museum of Fine Arts had disappointed him because this was not all that could be expected from a solid artist. A mistake as serious as it is logical if coming from provincial academicism vitiating the Third World reception of art made in Cuba. Ponjuán is very far from producing domestic phantasies to please or anger consumers of events or mainstream professionals. This lack of understanding is the virtue of a pragmatically romantic operation, warmly cold and deceitfully conceptual. Because the linguistic signs that many presumably detect in this “built situation” remain on the tip of the artist’s tongue, an artist who is ready to play like a mischievous kid with the forms that will arrive. (…)
