Art Cannibals: Sabotage of Public Facilities in Matanzas Reported

Vandalism against artistic installations in public spaces in Matanzas adds to a growing list of incidents that have impacted urban artworks by various creators in the city.

According to the government newspaper Girón, the installation Casa, by artists Rubier Bernabeu and Wendy Lora, was damaged in the Plaza de la Vigía.

The work, composed of stacked pyramids of stone, was covered with symbols and engravings, including a swastika, the letter A for anarchy, personal insults, and markings inspired by manga series.

Several of the smaller pieces were knocked down and broke upon hitting the cobblestones.

Bernabeu shared photos of the damage and summed up the incident in a single word: "Vandalism," highlighted the state-run newspaper.

The installation, conceived as a representation of homes built on solid foundations and mutual support, ultimately became the target of attacks that distort its meaning.

However, the government spokesperson acknowledged that it is not an isolated case.

In Matanzas, various artworks have met the same fate, including the stairs on Narváez Street by the same creators, one piece of which was stolen; the installation by the late Agustín Drake featuring cow skulls, which were thrown into the river hours after it was set up; and a life-sized Virgen de la Caridad by Adrián Gómez Sancho, which was broken during its exhibition in the historic center.

Other local artists have also reported similar incidents. Osmany Betancourt Falcón recounted how he had to remove a pig sculpture after it was knocked down, while other pieces created by him — benches, characters, and human figures — were covered in graffiti and scratches.

The creators warn that many of these sculptures are made with expensive and imported materials, the replenishment of which is practically impossible in the current context.

For them, each attack is a display of "civic cannibalism": the destruction of collective goods that are part of the city's urban heritage, but it also reveals an old problem that the regime has been unable to solve, highlighting its inefficiency.

Critics also highlight the lack of oversight and protection by local authorities, who hardly intervene to preserve the works displayed in public spaces.

In a moment of economic and social crisis, artists and citizens insist that preserving the little beauty that remains is also a way to remind ourselves that community life needs symbols of resistance and hope.

The attacks on public works in Matanzas are not an isolated incident. Vandalism has become a recurring practice throughout the country, where material deterioration and the lack of state protection fuel a spiral of destruction.

Just a few days ago, relatives reported the theft of gravestones in a cemetery, reminding us that not even the dead can rest in peace due to the neglect of the institutions responsible for safeguarding funeral heritage.

The offensive against common goods also extends to basic infrastructure. In Marianao, the theft of ETECSA cables left dozens of residents without telephone service, affecting communication in an area where technological deficiencies are already severe.

These events reflect a climate of impunity that affects both cultural life and the daily experiences of the population, but they also highlight the level of insecurity that permeates Cuba.

In Matanzas, the same setting where sculptures and artistic projects have been sabotaged, a billboard featuring the image of Miguel Díaz-Canel was found vandalized.

The action, beyond the material damage, is interpreted as an expression of the growing social rejection of official propaganda and as a symbol of the erosion of political authority amid the crisis.

Frequently Asked Questions about Vandalism in Artistic Installations in Matanzas