The Cuban artist Tania Bruguera (Havana, 1968) was for years the number one public enemy of art for Castrobus.
The work of it is to interpret reality, political and social failures, and raise a performative discourse that has as much insubordination and challenge.
His father belonged to the black legs of the revolution.
Bruguera had privileges, but he used them as part of his merchandise against a regime that abolished any criticism crack.
And so he made his way.
Bruguera is today one of the Latin American creators of more resonance and prestige, with work and actions deployed in some of the temples of contemporary art: of the MoMA of New York to Tate Modern in London.
And at its journey, it is now the Velázquez Prize that grants the Ministry of Culture, endowed with 100,000 euros.
The jury of the award emphasizes “its rigorous performing activism and especially attentive to sociopolitical contextual dynamics.”
Some of the shares of Bruguera are part of the best anthology of artistic activism of recent decades.
It has also been valued “its review of the modalities of the behavior art that represent a dynamic of participation and questioning of the traditional modes of behaving in the public space”.
Firm defender of the intervention of art in society and its transformative power, its works focus on issues related to authority and control.
The defense of it from freedom of expression through the performances of it or the protests of it has taken it on different occasions to direct confrontations with the established power.
