IDENTIDADES 1 ENGLISH IDENTIDADES 9 ENGLISH | Page 111

Also with delicate poetic, the artist
speaks
on
the
unusual.
His
performances do not always relate to
damage and hexes. Through its unique
configuration, they also refer to love as
a deep feeling among the entities in the
Nganga and in the fantasy of the
believers. They protect the love between
couples against the dangers of jealousy
and betrayal, poor eyesight or evil eye.
For this purpose, they provide these
warriors with archangels´ protective
attributes.
Lifeworld
During his consecrated artistic work,
Delgado earned a mention in the II
Salon of Fine Arts “Africa in the
Contemporaneity” (1999), organized by
the Art Gallery Concha Ferrant in
Guanabacoa. This exhibition was
neither promoted nor publicized in due
scale, despite the novelty and aesthetic

quality of the works. Inexplicably, the
next edition was cancelled. The salon
finally vanished from the national
artistic scene as an option to approach
the cultural roots of Black Africa.
Despite of being poorly promoted in
Cuba, Delgado attracted the attention of
a German gallery owner and collector
interested in artistic discourses rooted in
religious practices of African origin.
Thus, Delgado could perform a plastic
or action happening in Munich,
Germany. It was an excellent
contemporary variation with the use of
industrial materials. He artistically
intervened a BMW car and showed how
icons and symbols of Palo Monte and of
Cuban nationality and identity could be
harmoniously integrated into the most
refreshing and postmodern conceptions
of the universal art.

This happening encouraged the collective sample of Afro-Cuban topic Aquí Estamos
[Here we are] (2001) and the two-handed exhibition Orishas for Peace (2010),
coordinated by the Ministry of Culture of Cuba and the Mayor of Munich.
110