Dreams Production Plan for
State-Run Companies in Cuba
(2012-2019)
Produced in Cuba and Spain
Installation, wooden boxes
documents, photographs
(20x25 cm)
‘Sleeping indefinitely at work is an inconceivable notion. In Cuba,
however, it is quite common. To
maintain or feed productivity, the State
has set regulations for workplaces and
employee conduct. Still, few people
abide by them because there are no
repercussions for being lazy, or even
sleeping at work. These regulations
serve more of a symbolic nature. Both parties’ tacit agreement that the system is inherently unproductive
renders workplaces into ‘ghost
production structures’. Therefore,
sleeping during work hours changes
nothing as this economic model’s
output is dispensable to continue
working as it is.
In addition to sharing Cubans’ dreams, one of my main objectives with ‘Dreams Production Plan’, was to achieve a production line that would allow me to demonstrate in a tangible form that the dreams of socialism are a marketable product, merchandise that can be mass-produced and exported. ‘Dreams Production Plan’ is a critique of the establishment. It presents an alternative system that allows for productivity to happen using the existing structures, without changing or interfering with the day-to-day work rituals.’
Excerpt from an interview with Friederike Sigler.
WORK. Documents of Contemporary Art, 2016. Copublished by Whitechapel Gallery and The MIT Press
In addition to sharing Cubans’ dreams, one of my main objectives with ‘Dreams Production Plan’, was to achieve a production line that would allow me to demonstrate in a tangible form that the dreams of socialism are a marketable product, merchandise that can be mass-produced and exported. ‘Dreams Production Plan’ is a critique of the establishment. It presents an alternative system that allows for productivity to happen using the existing structures, without changing or interfering with the day-to-day work rituals.’
Excerpt from an interview with Friederike Sigler.
WORK. Documents of Contemporary Art, 2016. Copublished by Whitechapel Gallery and The MIT Press