Apparent alignments of five or six planets occur with relative frequency. Gathering seven within the same visible band of sky is a far less common phenomenon, limited to only a handful of occasions per century, and the coincidence of all eight planets is rarer still. A perfect alignment of them all is virtually impossible.

In the Middle of the Endless Water, a solo exhibition by Julia Orquera Bianco curated by Carolina Cuervo at the Philip M. Meyers Jr. Memorial Gallery at the University of Cincinnati, brings together more than a decade of work by an artist whose practice has gradually moved from the personal experience of migration toward an inquiry into territory, memory, ecology, and alternative forms of knowledge.

I suppose that, like me, hundreds and probably thousands of viewers developed a dark sympathy for the character of Hannibal Lecter. The two actors who, to date, have embodied him most memorably are Anthony Hopkins and Mads Mikkelsen. The character displays extraordinary intelligence and self-control. He conducts himself according to his own rules and ethical codes.

The following interview was published by Hypermedia Magazine on July 9, 2019, as part of its section “The Forms of Violence.” Today, with Juan-Sí’s explicit authorization—and, presumably, that of its author, who died in Havana a few years ago—we reproduce it in the Annex News Section on the occasion of his exhibition I.T.I.N.E.R.A.T.I.O.N.S. at The Annex Gallery.

Like so many other wildlife photographs, this one immediately caught my attention. It was published in Digital Camera World, issue 312, October 2026, in the Reader Gallery section. A space intended to give visibility to work submitted by readers, with no distinction between amateurs, emerging photographers, and established professionals. They do not seem particularly interested in any genre or style, only in creativity, provided it finds a technically solid resolution...

In a couple of weeks, The Annex Gallery will receive an exhibition by Juan-Sí González. There are several generations of Cuban artists —the younger ones especially— with only a very blurred idea of who Juan-Sí is and what his role has been in Cuban visual arts during the second half of the twentieth century. Some do not know him at all. This does not surprise me.