Thesis. Higher Institute of Art. 2006
Presentation remarks
By: Jorge Fernández
Director. National Museum of Fine Arts. Cuba
(...) does not try to delve into the ideal of the absurdity of appearance; the genesis of restructuring takes on an empathetic character, by emptying the original object of all meaning. Yeny builds an entire plot from successive juxtapositions. (...)
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Splinters.
King Changó and Saint Peter in the boycott. 2008
By: Frenci Fernández
Art critic and curator
It did not require any effort to leave the exhibition TERRITORIAL REFERENCES halfway between its apparent interests. Thunder, clouds and rain served as simple “agents” to disconnect it and dismantle it in one of its critical enclaves: Pier 3 on Havana's Port Avenue. (...)
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Spying policy.
Report on the Work-Catalogue #1. 2009
By: Juan Antonio Molina
Art critic and curator
The third part of the email message for the Work-Catalogue #1 contained the first of the announced “secret documents”. A text that appears to be a report made by a Cuban counterintelligence agent, with enough details to assume that said agent belongs to the art world (...)
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Procesual.
Art of intersections. 2014
By: Ana. R . Lozano
Art critic and curator
Q- Before the interview, I was told that the project had been born in Havana and then travelled to some European cities, attributing it in this way to a diffuse path linked to the continuous geographical displacement and what this implies. Could we go deeper into this subject? (...)
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Chaos and order.
Intermediate Pieces Project. 2006
By: Larry González
Visual artist and writer
The notion of the exhibition space as a single whole could be the first call to attention regarding Intermediate Pieces by the artist Yeny Casanueva (El Guerrero Gallery, Havana. This time, Yeny's work is shaped by possible dialogues that can be established between her objects and the space that supports them. (...)
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¿Does "Plasticine" invade the Hispanic American Center?
Plasticine Project. 2008
By: Arlette Castillo
Art critic and curator
Ironically, plasticine is not the primary material of the exhibition, however the works of Michel Pérez (Pollo), Niels Reyes, Yeny Casanueva, Orestes Hernández, Yornel Martínez, Junior Acosta (Jimy), Odey Curbelo, Irving Vera and Alejandro Campins come together like mortar to take over the spaces of the (...)
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Villa Marista in Plata
Art, politics and new technologies. 2008
By: José Antonio Ponte
Essayist
This book was written from emails, images captured on site by mobile phones, audio recordings, blog entries, and a police surveillance file. In its pages, Carlos Garaicoa negotiates a difficult exhibition with the authorities, artists Yeny Casanueva and Alejandro González steal information from a State Security agent (...)
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Dangerous movements.
Performance and politics in Cuba. 2008
By: Coco Fusco
Visual artist
(...) His gesture recalls conceptualist expositions of the interrelationship between financial and symbolic capital, such as Shapolsky et al.'s Manhattan Real Estate Holdings, a real-time social system from May 1, 1971, in which artist Hans Haacke used public records to show how a corporation acting as a slumlord of the Lower East Side generated profits from questionable transactions. (...) (Pág 33-67)
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The contradictions of the absurd.
Cde Cuba Magazine #27. 2019
By: Dayneris Brito
Student of art history
There is nothing disinterested in art, just as there is nothing disinterested in the system of interpersonal relationships. Every process of selection, detection, association or accumulation of aesthetic and ideological patterns, by nature, incurs in a kind of measured egoism in which there will always be a beneficiary and one or more victims. (...) (Page 170 - 175)
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