Eduardo Naya stands out especially in the pictorial contemporary Cuban in the nature painting.

With a sensibility it is able to capture in their work details that they are taken out of a documents film. It reflexives to each species as if it was in their natural environment or when it is part of our social spaces.

This thematic is frequently approached by this Cuban painter who reflective the reality so which and as it is, without falling in superfluous and lacking compositions of sense.

Their works as many others respond to the demands of one century where the visual has a decisive weight in the construction of messages and in the symbolic perception of the environment.

Naya also belongs to the collaborating artist listing of Artecru and its works can be seen in this space.

French art in the Caribbean insularity

The creative look of a French artist expresses a perfect combination of harmony and light.

Evolution from the everyday and the artistic

This new proposal is the result of constant improvement of its creator.

“Rivers of Cuba”: new series by Juan Manuel Velázquez

The Cuban countryside is again the inspiration of the artist.

An intermittent river of matter in the physical

A multiplicity of creative techniques converges in Matanzas city.

Photographic sketches of Adriana Riera in biennial times

An interesting look at the concept of photography.

Pop Art at the XIII Biennial Havana

Various visual discourses converge in this event.

“Snapshots” two-person exhibition by Raidel Cabrera Medina

The creator participates in a collateral exhibition of the XIII Biennial Havana.

A kingdom in the reality of this world

The photographic proposal is one of the exhibitions and projects of “Intermittent Rivers”.

“Matanzas´ elegy” a tribute to his city

Through the landscape a Matanzas ´ creator expresses the feelings he feels for the city in which he lives.

Photographic scenes of architectural forms

The young lens artist Alejandro Baró proposes an interesting visual discourse from the codes of photography.

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