In a context like Cuba, a polar bear is much more than an estrangement. In the work of Carlos René Aguilera Tamayo it becomes a symbol, suggestion and at the same time provocation. For a creature associated with polar cold to appear so wild in tropical settings, numerous distortions of reality must have been conceived. Or is that reality can become so shocking that a polar bear is in any case one more strangeness?

In any case, bears, sheep and other animals (with all their symbolic potential) are here much more than characters from a fable. They are representative elements of a reflection on utopia... and dystopia. And the inclusion in the works (which they emulate with authentic staging) of perfectly recognizable and "locatable" characters and situations reinforces the metaphor of the arduous construction of a society.

The less committed viewer will settle for the more or less cute tale of the peasants riding white bears, in the manner of an illogical dream (and the somewhat playful vocation of the figurations contributes in this sense). The most informed viewer will glimpse conflicts of a different nature, much less transparent, but no less impressive for that.

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