During the first week of June, in Old Havana, civilians with tattoos went to a young man’s parlor, asked him to sketch out a tattoo for them and, when it was time to pay, took out a confiscation order, identifying themselves as inspectors from the Ministry of Labor.
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I get on a bus and see people run and cling to the open door, trying to keep their heels from being mangled. I see a mother hoist her kid onto her shoulder and grab hold of another passenger’s waist, struggling to hold on to his neighbor with calloused hands.
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Following the migratory crises of the 1990s, tattoos went from being the mark of sailors, former inmates and criminals to inscriptions born by a wide range of people, not all of whom had a “socially unacceptable” past.
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Yomer Fidel Montejo Harrys was born in Camagüey in 1983. Coming face-to-face with this 31-year-old artist, we find ourselves with a young man with a watchful eye and a friendly smile. An artist who has travelled along a long road of search, discovery and exploration which goes far beyond the naivety that we had discerned at a first glance.
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This is a very controversial issue, particularly in Cuba. Because of the embargo imposed by the US government, Cuba has had restricted access to information – to books, music, films, software, operating systems and other products. The government’s response has been that of the so-called “cracking” of all types of software.
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