Described by the U.K. website Publishing Perspectives as a “de-facto digital library of Cuban culture,” the online journal La Jiribilla celebrated its tenth anniversary in 2011. Among its end-of-year articles was a detailed recounting of the year in art on the island. We are pleased to present this “2011 Visual Cartography” by Mabel Machado as a two-part series on Cuban Art News, where it appears in English for the first time.

This past year, the Miami-based Aluna Art Foundation was founded by art historian and curator Guillermo “Willy” Castellanos and critic and curator Adriana Herrera, with the goal of raising the visibility for artists outside the mainstream. The Foundation’s first exhibition, After Neo-Expressionism: Diaries on the Edge of Roughness, is just completing its run at the Barrio Workshop Artspace in Miami, where it closes on Saturday, January 14. In an email interview with Cuban Art News, Herrera reflects on Aluna Art’s first months and its plans for the future.

Luis Cruz Azaceta turns global affairs into art, U.S. photographers unveil their views of Cuba, and there’s still time to join urban planners and architects in Havana--and to toast Flavio Garciandía’s new show in L.A., or catch Yoan and Iván Capote in Havana.

Bilko Cuervo is the youngest of Cuban filmmakers focusing on short music videos, known on the island as "videoclips." In Jamaica, where he’s currently working, he spoke with Cuban Art News about this little-known Cuban genre, his experiences making videos, and working methods.

Arriving in 1961, Swiss photographer Luc Chessex spent several years in Cuba documenting the revolution and life on the island. In an interview with Manuel Pereira, Chessex talked about his experiences, his photographic influences, and the face of the revolution today. Published last month on the Madrid-based website CubaEncuentro, the interview appears here in English for the first time.

Six videos by Marta María Pérez make their Havana debut, Urbanitas gathers an international crowd in Miami, and José Bedia’s 30-year retrospective nears the end of its run in L.A.

Cuba is being globalized, says Joaquín Borges-Triana, and the world is being Cubanized. The Havana music critic and journalist shares his top picks among Cuban music discs produced beyond the island.

Looking to promote a critical dialogue between generations of contemporary Cuban artists, the Cleveland Institute of Art is midway through six months of overlapping residencies, hosting artists born in the 1960s, ’70s, and ’80s. What do the generations have to say to each other, and to the cultural community in Cleveland?

The Howard and Patricia Farber Foundation, formerly Fundación Cuba Avant-Garde, has announced the grantees in its second round of funding. Projects winning support include a Manuel Mendive retrospective, the catalogue for an ambitious multi-museum show on Caribbean art, and a long-awaited book on Raúl Martínez.

With its glamorous depiction of Havana’s beautiful and well-connected “creative class,” Michael Dweck’s Habana Libre (Damiani editore, 2011) puts an unexpected spin on life in the Cuban capital—one that would be right at home in the pages of Vogue or perhaps a Fellini movie. As he prepared a show of photos from Habana Libre—which opens tonight at Staley-Wise Gallery in New York’s Soho district—Cuban Art News caught up with the artist for a lively conversation on Cuba, farándulas, and the making of Habana Libre.