Installation (variable dimensions)
The term Potemkin Village refers to the event in Crimea in 1787, when Grigori Potemkin representative of the Russian government in Crimea built numerous facades and fake cities to impress the Russian Empress Katerina II during her visit to that region. From this fact the expression Potemkin Village has become synonymous (literally or figuratively) of constructions made only with the intention of creating fictitious images.
I appropriate that historical episode and the meaning of the facade concept, to discuss topics concerning the art-art-spectator relationship. The Potemkin Village piece discusses the importance of art in public space and the need to make visible the diffuse but dividing line between the art institution and the spectator.
When partially reproducing the natural size of the façade of an institution linked to or involved in cultural activities in the Cuban context and superimposing the model as a collage, the piece refers to the cut-up technique of the artist William Burroughts “When the present is cut, the future is edited.”