There may be tensions between the symbolic and political implications of a sculpture, a sculptural ensemble... and its aesthetic realization. We know a lot about good intentions and poorly addressed needs. The role of the Council for the Development of Monumental and Environmental Sculpture (CODEMA) in Cuba should be conceived as a kind of filter—technical, aesthetic, and contextual—that balances the symbolic weight of a monument with its responsible integration into the urban landscape, its artistic quality, and its cultural relevance.

CODEMA founded 1982—and legally consolidated in 1985 as the National Advisory Council—precisely for this purpose: not only to promote monumental and environmental creation, but also to structure a rigorous, interdisciplinary evaluation system capable of preventing—or at least moderating—the excesses of voluntarism or last-minute decisions driven by anniversaries.

Current regulations in Cuba clearly define what constitutes a monumental sculpture and an environmental sculpture: the former is intended to commemorate events, figures, or occurrences of “historical, political, cultural, or social significance”; the latter has a more aesthetic, social, or recreational purpose, with the intention of “culturally enriching a given environment”—always integrated into the architectural, urban, or landscape context.

This legal framework—and CODEMA’s intervention based on it—aims to ensure that each monumental work is not mere decoration or mere propaganda, but rather a conscious act of cultural memory, territoriality, and collective identity.

And yet, the challenges these processes face today are evident. Over time, many of the mechanisms that fostered monumental and environmental sculpture in the 1980s and 90s—public competitions, interdisciplinary teams, and conscious urban planning—have been weakened.

The scarcity of resources, shifts in urban planning priorities, and a diminished focus on public art in some recent developments have led to the prevalence of poorly calculated “monumental pretensions” in some outdoor spaces: ill-advised locations, unsuitable materials, or inconsistencies between symbolic meaning and the urban environment.

For all these reasons, CODEMA’s responsibility remains as urgent as it is essential. It’s not enough to simply approve projects: it’s necessary to ensure that each sculpture—monumental or environmental—engages with its space, respects its social and urban context, and contributes to the collective heritage without becoming mere decoration.

At a time when cultural heritage faces the risk of improvisation or neglect, CODEMA represents a barrier—undoubtedly improvable, but necessary—against the trivialization of monuments and the erosion of the national aesthetic memory.

Translated by Amilkal Labañino / CubaSí Translation Staff