Duvier Del Dago – XV Bienal de La Habana – Estación Cultural
Duvier del Dago @ XV Havana Biennial – Estación Cultural
18 y Linea en el Vedado
The Estación Cultural, located at the corner of Línea and 18, originally served as the “El Carmelo” tram station from the early 20th century. In 1964, it was repurposed as the “Claudio Argüelles” bus factory, where the well-known Girón buses were assembled. Starting in 1995, it transitioned to bicycle production, its final function and the one it is most commonly remembered for today.
Today, not many people recognize its full cultural significance as part of the genesis of one of Havana’s most important neighborhoods. It served as the terminus of the tram line—steam-powered in the 19th century and electric starting in 1901—that connected the city’s most modern urban development to the historic center. In fact, the presence of the tram defined Calle 9 as the main axis of “El Carmelo” and “El Vedado”. These neighborhoods began to develop around this axis, and the street was named Línea due to the tram’s railway infrastructure, a name that persists nearly a century after this mode of transport disappeared.
| Project #1 | Site specific |
| Untitled, 2024 | |
| Printed stained glass on transparent vinyl designed for wooden structures. |
Artist Statement
This series explores the allegory of the Cuban nation, personified as a woman adorned in classical Roman attire with a Phrygian cap—a symbol of enslaved people who rose up against the power of the Roman Empire. She serves as a heteronym for me, a visual artist, allowing me to convey messages to contemporary Cuban society that would be impossible to express directly. Depicting her in these stained-glass works feels like speaking through light, projecting an energy that seeks to clarify the uncertain future of Cuba and its people.
Observations: This work, designed specifically for this space, interacts with the entire area while embracing a sense of nowhere. It aligns with the architectural structures, windows, and oculi that once illuminated Havana’s tram terminal—now silent since the trams ceased operation in 1952. The current economic situation in Cuba draws the attention of this symbolic figure, subtly urging balance or, at the very least, awareness of the approaching horizon. To me, the Republic has always been an oracle, foreseeing events with the intuitive foresight of an artist tuned into what lies ahead.
Making of
Understanding Duvier del Dago’s Artistic Process
Duvier del Dago’s artistic process for his installations begins with a deep engagement with the chosen space, particularly its pre-existing meanings and functions. He is drawn to public spaces because they offer a unique opportunity to interact with and recontextualize the environment. His artistic vision extends beyond mere aesthetics; he aims to create work that raises questions and encourages reflection in the viewer.
Before the physical construction begins, del Dago meticulously sketches his ideas, carefully considering the arrangement of elements within the space, like the windows, symbolic objects, and the interplay of light and shadow. This planning stage is crucial for him, as he meticulously maps out the visual narrative he intends to convey.
Del Dago emphasizes the importance of drawing in his process, stating that “everything starts with a drawing”. He meticulously plans his thread sculptures by creating sketches, detailed plans on graph paper, and patterns with key points for weaving. While this information specifically pertains to his thread sculptures, it suggests a similar reliance on drawing for his installations.
His work consistently engages with Cuban history and identity, often reinterpreting national symbols. His choice of symbolic objects, like “La Republica” and the Cuban flag, reflects his ongoing exploration of these themes. The use of magazine pages, likely from Cuba’s Republican era, further emphasizes his intention to layer elements of the past into the present, prompting viewers to consider the evolution of Cuban society.
Del Dago’s artistic origins and experiences play a significant role in his approach. His childhood exposure to the Parrandas de Zulueta and the construction of carnival floats have influenced his appreciation for spatial relationships and intricate designs. This early fascination with structure and symbolism is evident in the construction of his installations.
He embraces a hands-on approach, actively engaging in the physical construction of his installations. He meticulously arranges elements, demonstrating attention to detail and ensuring that his vision is faithfully translated into the final work. This meticulousness is evident in his approach to thread sculptures, where he makes precise calculations for materials and key points for weaving. This suggests a similar dedication to precision in his installations.
His artistic process extends beyond individual works; he is also concerned with the overall context and reception of Cuban visual arts. He believes that the solution for contemporary Cuban artists is to create art within Cuba, addressing the unique realities and concerns of the country. He sees his role as an artist and educator as one of guiding and inspiring young artists to stay active and produce thought-provoking work.
