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Lot Essay
A self-styled “artivist”—artist, activist, citizen—Bruguera has developed an interdisciplinary practice of social and political critique that has, since the 1990s, addressed aspects of freedom, power, and censorship, often in defiance of the Cuban state. She has mounted interventions and performances around the world, notably at the Seventh Havana Bienal (2000), at the Tate Modern (2008, 2018), and at Documenta 15 (2022). Through her commitment to “arte útil” and the creation of the Instituto de Artivismo Hannah Arendt, Bruguera has collaborated with museums and community organizations—as well as ordinary citizens—to effect social transformation.
A collaborative project, Estadística consists of human hair donated by Cubans and then rolled by volunteers into cloth strips and sewn together. In the shape of the Cuban flag, the work recalls the flags of liberation made by women in sewing circles during Cuba’s War of Independence (1895-98). Part of the Memoria de la postguerra series, Estadística also refers to the mass exodus of Cubans from the island in the 1980s and early 1990s. “For me, each clump of hair symbolized a day, a person,” Bruguera explains. “I used hair because it’s an element in Cuba, as in many other cultures, which is considered to hold energy, a person’s willpower” (“Tania Bruguera in conversation with Octavio Zaya,” Cuba: los mapas del deseo, exh. cat., Kunsthalle Wien, Vienna, 1999, p. 241). Versions of this work are in the collections of the Museum of Fine Arts, Houston and the Museo de Bellas Artes de Cuba.
Abby McEwen, Assistant Professor, University of Maryland, College Park
A collaborative project, Estadística consists of human hair donated by Cubans and then rolled by volunteers into cloth strips and sewn together. In the shape of the Cuban flag, the work recalls the flags of liberation made by women in sewing circles during Cuba’s War of Independence (1895-98). Part of the Memoria de la postguerra series, Estadística also refers to the mass exodus of Cubans from the island in the 1980s and early 1990s. “For me, each clump of hair symbolized a day, a person,” Bruguera explains. “I used hair because it’s an element in Cuba, as in many other cultures, which is considered to hold energy, a person’s willpower” (“Tania Bruguera in conversation with Octavio Zaya,” Cuba: los mapas del deseo, exh. cat., Kunsthalle Wien, Vienna, 1999, p. 241). Versions of this work are in the collections of the Museum of Fine Arts, Houston and the Museo de Bellas Artes de Cuba.
Abby McEwen, Assistant Professor, University of Maryland, College Park