Tania Bruguera was born in 1968 in Havana, Cuba. As a politically motivated performance artist, she explores the relationship between art, activism, and social change. Her works examine the social effects of political and economic power, particularly the promises and shortcomings of the Cuban Revolution. Through her performances, she challenges viewers to confront the political realities that are often obscured by government propaganda and mass media. Bruguera advances the concept of “arte útil” (functional art), which emphasizes art as a tool for addressing sociopolitical issues. She has developed long-term projects that include a community center, a political party for immigrants, and a school for behavioral art, proposing solutions to social problems through her artistic practice.

The figure is adorned with a garment made of earth, cloth, wood, nails, and rope, representing a living nkisi nkonde, a powerful Congolese “fetish” figure. The nkisi nkonde serves as a significant symbol; each nail embedded in the figure represents a manifestation of desire, signifying a wish or hope that is literally infused into the object itself. Originally part of a performance in 1998 in Havana, Cuba, this object aimed to address the political realities and unmet social promises of the Cuban Revolution. It transforms into both a receptacle and a symbol of collective desires, reflecting the rich layers of Cuban syncretic culture. For those who have unwavering faith in the revolution and its promised glory, Fidel Castro embodies the essence of the nkisi nkonde. He becomes a symbolic figure upon whom the people project their hopes and aspirations, transforming him into a vessel for their desires. In contrast, for critics of Fidel, he evolves into a different kind of symbol—a fetish or juju. In this narrative, he is perceived as the ultimate ‘other,’ potentially reflected in various performances that challenge his authority and impact.