Named after Rubén Blades’ song and taking after the Latino tradition of giving proper names to houses, Sol Calero presented Casa Anaconda as a travelling installation, travelling from Womad Festival to the Folkestone Triennial, in the UK. Casa Anacaona evolves abstract ideas of the coast and sea through a 100 square metre walk-in installation of gates, screens, doors, walls, windows, bespoke furniture, paintings and cut-out ttings alluding to aquatic ephemera. Painted in the colour palette and patterns that are recurrent in Calero’s practice, the pavilion’s interior is decorated with elements created by participants in the workshops that were organised during the piece’s stay at Womad, and the space hosted a series of activities open to the public during the Triennial, such as salsa lessons, painting workshops or cooking classes.

Casa Anacaona is a site-speci c installation, consisting of the design of a structure and a furniture set, created in collaboration with local artists and in response to the requirements of the environment. The structure functioned as a platform for social interaction, as well as a bridge of collaboration between a pre-existing local network, and as a stage for events to take place. In Casa Anacaona, the aesthetic conception of the structure continued along the lines of Sol Calero’s previous work, in which the appropriation of a pictorial language that often breaches the frame of painting entails the insidious homogenization of diverse cultures into an abstract lexicon of signs. This layer of recognizable appearance makes the work both accessible and allows for an implied approach on the complexity of identity construction.

The activation of the structures and spaces created under this aesthetic is essential to Sol Calero’s practice, and in this occasion it translated into a long process of working with a diverse range of collectives and groups from the area, taking part in the construction, painting, furniture-making, and conceptualization of the use of the platform.

Casa Anacaona was the rst in an upcoming series of outdoor architectures of analogous format. This structure and the way it operates represent a concept to be applied to many contexts as an open frame for activities, cooperation and synergies. It is projected from the understanding that each new context brings new speci cities such as the necessities of the local community, the activities that are going to take place within it, and the physical space where it is located.

Casa Anacaona, Installation view at Folkestone, UK, 2017. A co-commission by WOMAD World of Art and the Creative Foundation for Folkestone Tri- ennial. Courtesy of the artist. Image by Thierry Bal.
Casa Anacaona, Installation view at Folkestone, UK, 2017. A co-commission by WOMAD World of Art and the Creative Foundation for Folkestone Tri- ennial. Courtesy of the artist. Image by Thierry Bal.
Casa Anacaona, Installation view at Folkestone, UK, 2017. A co-commission by WOMAD World of Art and the Creative Foundation for Folkestone Tri- ennial. Courtesy of the artist. Image by Thierry Bal.
Casa Anacaona, Installation view at Folkestone, UK, 2017. A co-commission by WOMAD World of Art and the Creative Foundation for Folkestone Tri- ennial. Courtesy of the artist. Image by Thierry Bal.