This play is a reflection on the (im)possibility of accepting diversity and the other. The fragmented body of the neoplasm—the fruit of unstable conditions—overcomes barriers, loves and denies itself and others, wanders around, forgetting its profession. It frequently and with pleasure divides, goes through dangerous palpation, questions the possibility of contact with the experience of the other. Poorly brought up but very successful, it invites us to a trans-species transition.
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In her article "Manuel Arenas," Cuban art critic, art historian, and curator Caridad Blanco de la Cruz writes, "The discourse of Manuel Arenas invites one to reflect on man and the totality of his relationships. Because of his interest in dismantling the social order which favors exclusion, intolerance, and neglect, he emphasizes the psychological impact of the problem. By revealing the problem and showing himself as someone affected by it, he brings a documental quality to his work, which is conclusive evidence of his legitimate desire for harmony between the individual and society." Curated by Alejandro De La Fuente
When
2010
Manuel Arenas received his Master's degree in 1992 from the Instituto Superior de Arte in Havana and currently lives and works in Nîmes and Madrid. Since 1984, Arenas has been using art to address issues involving black Cubans. His work is largely autobiographical and incorporates everyday objects, photography, and video.
