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I know of no greater cynicism
in the history of art: someone who transform himself into a
good painter with the intention of ironically dismantling the
workings of the system, and yet taking advantage of it. He's
a double agent, an infiltrator engaged in a multi-faceted game,
because it is his good painting in itself that has
made the most barbed criticisms on the rhetorical debasement
of the means of communication in Cuba which gives a new edge
to his work.
With both historically opposite
elements Glexis puts together enormous altars, a summum of that
dense plot or ironies and contra-ironies about art, culture
and politics.
Gerardo Mosquera
From: The
14 sons of WilliamTell, No Man is an Island, Pori Art
Museum, Findland, 1990.
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