Tania Bruguera

speaker
377 appearances 1 recordings 1 series first heard Jul 2026 last heard 9 Jul

Tania Bruguera’s voice in public audio — every appearance, attributed to the second.

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Recordings per month over the last 12 months — 1 in all, peaking in Jul 2026 with 1.

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was connected to the whole area.
So all the artists from other countries' videos were stopped because of me and they protested.
So they had to put the piece up again to please the foreigners.
The piece was done specifically for the foreigners.
This is one of the first time in my life, in my career, in my work, that I do a piece, an artwork, thinking of the audience.
And I wanted to do a piece for the foreigners who came to Cuba looking at that light, that salvation light projected in that video with Fidel, and didn't see the Cubans around, naked and vulnerable.
Well, in Cuba, we were very aware of artists in Latin America.
So I knew about her work.
And I really like the way she used the poetical in the political in a way that is gentle and brutal at the same time, you know?
That crack at the Tate is one of my favorite pieces ever in the history of art and is a difficult reference when you are invited to do the Tate Turbine.
You know, you have to compete with that.
And in a way, after many years, I understood that also that crack is a crack on the institution itself.
And this is something that had guided me or helped me to think about politics also in institutions, not only political governments or legislation, but also the role of cultural institutions themselves.
You can see it in pieces about institutional critique.
Every time I try to work with the subject of the art institution, I think about that piece in a way.
How can I create a crack?
People saw nothing.
which is the contrary of what they're supposed to see.
Because I think this piece was about invisibility and the invisibility of immigrants and the invisibility of the accomplishment of immigrants.
So they saw a very shiny floor.
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