Jesús Hdez Güero doesn’t try to narrate histories with his creations, but he tries to “become history what become us history,” as he explains. The artist is more interested in how and not what, because he thinks that “art mustn’t be anecdotal, or tell stories, but conceptualize about how it has been narrated, and how it narrates reality, and it historia or historias, and what do we do with them. If we really are the ones that narrate and do history, or we are just being narrated by it,” he clarifies.
As far as he can remember, Jesus has been immersed in the art spectrum. He always drew, but he doesn’t have memories of his beginnings. For that reason, he thinks that art chose him before he could do it. His dear grandmother was the only person to drum him into, when he was 9 years old, that he was caught by art, and since that minute, he knew that to be an artist was a tangible possibility and a profession, thus, “a responsibility.” Today, this world is his life.
He was trained in the San Alejandro National Academy of Fine Arts and the Superior Institute of Art (ISA) in his native Cuba. In both schools the experience was powerful, and Jesus assumed the two phases with a unique level of seriousness and determination. In San Alejandro, he had a more existential phase of the learning process, due to the ambition he had of acquiring an profession by means of the understanding of the technique: the printmaking. “The accuracy and cleanliness in my creative practice was an obsession. Everything appeared from a total fluency, with a vertiginous impetus and rhythm. I was more intuitive and less rational, conceptually speaking,” he says.
For other part, during his following phase in the ISA and his parallel studies in the Behavior Art School –given by Tania Bruguera–, the artistic worries was less technical and more conceptual. Jesus has to reflect about how cover a conceptual force in his proposals and how to cover a social-wider range. Space began to turn up as an expansion platform to develop socio-political worries that were led as individual and that just processed in thinking level. “So, mi practice became less intuitive, more conscious, and critic. Rough…,” says the artist.
Jesus has a sensibility related to the power, the violence, and the memories, which “is born of being part of a country victim of politicization, psychological violence, and history as a media speech of power. Of a context in which any thought possible is impossible in itself if it’s not politicized,” he describes. In such a way that this acquired and developed sensibility is by default something that today cannot be done (and improbable to be done,) which makes explicit in each new word that he creates and that probably will be present un Una Nación en Pocas Palabras, artwork that the artist is now working on, which will have two versions. One of them is already finished.
Jesus Hdez Güero wants to do art a social phenomenon where cultural and communicational patterns were raised again, restructured, and reorganized; pattern of exchange and existing social relations, carrying them to other possible forms or to other possibilities of comprehension, using, and experience of the same reality. “If art doesn’t directly transform reality, it does modify and encourage people to do it, or to begin changing the way of perceiving, interpreting, and living with it. And there, the real value of art is found as a social fact in itself, and as mi intention within it,” Jesus concludes.