Landscape of discourses. Having grown up as an active part of the Cuban socialist process--with the moral responsibility to be “the new man” inspired by the mythical figure of Ernesto “Che” Guevara--I focused my artistic investigations on studying aesthetic patterns that represented the socialist system’s ideology. Educated in a society of scientific materialist ideology and studying Marxism-Leninism, I learned the essence of the phenomenon. Later, in practice, with the influence of perestroika and the fall of the Berlin Wall, I was able to deconstruct my own history. Methods of socialist propaganda caught my attention. That rigorous system of symbols, associated with a dogmatic language that gradually lost meaning, led me to create a system of abstract, pictorial signs. Later, my fascination with the graphics within the spectacle opened me to a broader connection with architecture. I reinterpreted political scenery through installations and site specifics wall drawings, integrating the urban landscape as protagonist. Converting my work into an instrument of social and political criticism, I aimed to make the convergences of strategies used by different systems of totalitarian power universally evident. I intend to synthesize in a "unique" form the diverse subliminal resources of manipulation by ideological, religious, political, or financial systems, which define the appearance of cities, creating a discourse of landscapes. The meticulous drawings aim to seduce the spectator with panoramas of the marvelous-terrible and provoke reflections not so drastic within the global context. My work is inspired by the future as the irrefutable terrain of today's politicians', theologists', and ideologists' promises.

Glexis Novoa Vian (1964 Holguin, Cuba). Glexis Novoa is a visual artist and cultural activist. Since the late eighties, he produces art in many different media, including painting, performance, installation, and, most recently, graphite drawings—the material that would become his trademark. Novoa has attained international recognition for his site-specific wall drawings, which exist on the border between ephemeral art and architecture. His work repeatedly turns to the architecture of power and politics as its main subject. Novoa’s work is featured in numerous private collections, international museums, and in public places. He lives in the US and works anywhere.

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