Lost and Found
Memory is short; the sound of bells is long… Something similar murmured in front of the recently concluded cathedral an architect of the Middle Ages, sufficiently clear for us to be able to remember it today. The trap of memory, perhaps what maintains us inevitably tied to it, is its capricious selectivity, that some of us give ourselves to the task of counteracting, recomposing from fragments a legible whole.
Many human works, many works of art, will survive to the attention of those who create them, admire them, dissect them or show them today.
They will be reserved to the audience of the future. Others will be partially forgotten or relegated to an unfair second level. And the role of historians today, of publications today, of curators and art critics, is significant in the conformation of history others may read tomorrow.
In these days, indispensable names who have escaped from collective memory are implacably reborn, as that of Carmen Herrera, to whom we offer these pages as a tribute impossible to postpone. Two visions, two voices refresh the memory and bring to light that indispensable artist within Cuban and international art. Both perspectives come to complement the exhibition and media display generated by Lines of Sight in the Whitney Museum of
New York. This is not the first time we talk of Carmen Herrera, since in other opportunities we have given space to a series of artists of abstraction that, because of one or other reason, remained many years on the shadows and today enjoy their deserved visibility.
One of the central axes of this edition is photography. With several monographic articles and some referred to events we approach to the topic of the perdurability of the instant, of image as memory. Once again we try to sketch a map where events have space, trends from before and today, and artists of several generations. Also within photography, some indispensable names, absolutely singular images which we seek to rescue and put on the consideration of the readers, escape the vision of Cuban art.
The absence of Cuban artists in the 2016 edition of the Sao Paulo Biennial also called our attention and was the motive for a historical investigation which defined some interesting conclusions on the participation of creators of the island in the event, divided into two stages. From this recount, another fragment of memory which we want to highlight also strikes: the fundamental role of art critic José Gómez Sicre in the international value and recognition of Cuban art.
The memory of already far-off times, and of others not that far-off, finds its space in this edition. Artworks, visualizations that have integrated themselves to the collective imaginary many times far beyond their creators and the historical time which saw them emerge.