Lost and Found

Art On Cuba - - In This Issue -

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.

Newspapers in English

Newspapers from Cuba

© PressReader. All rights reserved.