New ways always different. Alicia Chillida

Mankind has always used rituals to regain equilibrium in the face of disturbances.
caused by the disorder of the world. In fact, the catastrophe or disease is found in the
germ of this type of magic medicine in the same way that collective excesses are at the basis of
any act of evasion. When we dance we exorcise ourselves. After all, the party does not cease to be
a cosmic operation: the experience of chaos to provoke something like a rebirth of life. 

Bea Espejo. "Techno is danced in the museum". El País, Babelia, June 6, 2020

I remember precisely the first day I understood that the Museum could be the place to dance and the transcendence of this fact for the progress of art. It was with the work Funk Lessons / Funk classes The exhibition, 1983, in which the Afro-American artist Adrian Piper, invites the visitor to learn to dance and to do it right there, in a room with music, built for that purpose. Kuki loves music, he is an eclectic and original DJ, he plays from Antonio Molina and Marujita Díaz to Ennio Morricone and Nino Rota and... he loves Arabic instrumental music. The sudokukis could upholster any museum space with rhythm and light projections. Those geometric shapes that flow between pop and psychedelia, and that its author, for the last five years, has been producing incessantly. There is no possible selection, each sudokuki is unique and valuable, mapping a state of mind. They are born from a vital élan, they are signs of their author's pulse: the rhythm of his breathing, constant and inconstant, an energetic melody, a dance that takes hold of our body to take it to another dimension.

Original, daring and generous, Kuki is creatively tireless. What was until then an artist without a work as his friends called him, gradually transformed his favorite pastime into a passion. The sudokukis are a combination of lines and color inscribed in a grid that, after being tested in their domestic space, materialized for the first time on a large scale, in an ephemeral installation presented in the square of the Pompidou Center in Paris, just two years ago. A team of friends, led by the author, managed in a short time to put together that puzzle that reproduced in vivid colors the iconic staircase of this emblematic artifact, built in the seventies by Renzo Piano and Richard Rogers as a factory of culture.

During the 1990s I also came to understand the value of playing with your own neuroses in the museum space. It was thanks to the Austrian artist Franz West and his youthful work, the Passtuckes or Adaptable. The forms made in plaster (and later in fiberglass) with which he invites the viewer to laugh at himself. One can even videotape oneself or look at oneself in a mirror while manipulating and exploring them in ridiculous and comical postures. When Kuki showed me the chairs he had designed for his disco-bar, I was amazed. El Varadero I told him that they looked a lot like Franz West's furniture. Franz who," he replied.

I met Kuki Keller or Miguel Angel Perez in Havana. We were members of the same work team that Carlos Pazos had carefully conceived. When I asked him who Kuki was, he replied that we had two cameras, one stable, serene and infallible, which was Luis Ros, our dear friend, and the other unpredictable, agile and restless, with a humor immune to discouragement, which was Kuki. Thus it was that during an indefatigable month we recreated some New Llopis and that experience brought us together to this day. Every time the Godfather I respond, as on the occasion when he asked me to be the godmother of The Lateen Sailing Regatta. The project, which is being organized in his village to preserve this ancestral form of navigation and to opt to be named a world heritage site.

Look, look what I found," Kuki said and sent me the Sol Lewitt mural, Wall drawing #1144 Lewitt's work, 2004, located in the hall of the MOMA, NY, with a grid made up of small squares of bright colors. Lewitt broke with his installations site-specific with the conventional idea of an autonomous work to defend the value of drawing and propose a relational and communicative art. At that time, the sudokukis had reached maturity and Kuki laughed happily and surprised to see this coincidence and his affinity with the work of such an emblematic artist.

By appropriating the popular, everyday Sudoku and transforming it into a work of art that is easy to access and distribute, high and low culture come together naturally and manage to furnish our rooms and those of our spirit with joy. The sudukukis are like breaths, sometimes slow, sometimes frantic and compulsive. The speed of their production has accelerated over the last year to the point of invading their surrounding space, to the point of seeping into the daily lives of their friends. The message with the delivery arrives in real time, by whatsapp. Kuki's news has become necessary, whether good or bad, we need those brightly colored, cheerful, vital grids, created against all odds.

To have been able to reconcile so many diverse circumstances and elements: to radiate light from the night of the Varadero, to leave San Pedro del Pinatar, Murcia, and project himself to the world, to adopt as his surname the name of his street in Paris, to create a community of such varied and unconditional friends... says something about the power that Kuki emanates, with which he sweeps. David Lynch used to say that art doesn't change anything, it changes you. Almost nothing.