Exhibition CAAM - Los Balcones 11. Plantas -1 y 0
Since 12 June 2020 to 8 November 2020
Dagoberto Rodríguez started his artistic and military preparation at the same time, at the Escuela Vocacional de Arte Olga Alonso de Cuba. Once a week a teacher who taught to future artists the use of firearms would come. “Every Cuban must know how to shoot and do it well”, used to say Fidel Castro about the education of all of the young children of socialist revolution.
For almost five decades, the Cold War confronted the Capitalist Bloc and the Communist Bloc for the geopolitical domain of the planet and for the control of the tale of History. Cuba starred one of those episodes and became known as "the armed road to socialism", what drove the island to live on a constant tension facing a possible attack from the United States of America. Bombs, missiles and other munitions were part of the imaginary in which Dagoberto grew up, with the war as key element on his outlook of life. When he finished his Art degree in 1994, he spent three months of compulsory military services. Finally, he could officially become an artist.
CAAM receives the first individual exhibition of one of the greatest Cuban artists of the turn of the century in a Spanish institution. Dagoberto Rodríguez, co-founder of the dissolved collective Los Carpinteros, presents a number of works that mark the beginning of a new period on his artistic career. Touched deeply by the recent war in Siria, the artist initiates a meticulous investigation of the armed conflict that scourges that region and the strategies of attack and defense that its population has found to face enemies. Most of the works shown look into the way that war infiltrates private space and is nourished by elemental materials and methodologies of ancestral confrontation, at the antipodes of the high military technology of the West. Guerra Interior (Inner war) approaches the inherent hostility of the human condition, the struggle as the engine of life on a planet ruled by hostile relations, where war, like Cameroonian philosopher Achille Mbembe said, has become the “the sacrament of our era”.
Andrea Pacheco González