Arte por Excelencias - - Cuba -

The mo­nu­men­tal sculp­tu­re of Jo­sé An­to­nio Aponte, which stands ni­ne me­ters long, is cast in bron­ze and ste­el, fa­cing the sea and in the ter­ri­tory of Peñas Al­tas, the sa­me pla­ce whe­re a black wo­odworker car­pen­ter launc­hed per­haps the first cry of fre­e­dom that wan­ted to be unk­nown for many de­ca­des in the his­tory of Cuba.

“It's a sound sculp­tu­re. He wan­ted the sla­ve to be re­cog­ni­zed as a hu­man being, be­cau­se at that ti­me they we­re con­si­de­red ani­mals, that is why it is his call against sla­very, be­cau­se this dis­gra­ce and hu­man sha­me is still on the pla­net in anot­her gar­ment. It's not how they want to pre­sent it: a pro­blem in one part of the world, but in the world. ”

The ar­tist Al­ber­to Les­cay Me­ren­cio spe­aks ex­clu­si­vely for Arte por Ex­ce­len­cia, and ex­plains that his work is en­tit­led The Re­turn of Aponte “be­cau­se his spi­rit is ali­ve in our land, and it is ne­ces­sary to re­cog­ni­ze its va­lu­es in all its full­ness, and the group of men who sup­por­ted him at the ti­me of the Hai­ti­an Re­vo­lu­ti­on. ”

“It is anot­her act of his­to­ri­cal jus­ti­ce to what hap­pe­ned in 1811, one of the upri­sings that the co­lo­ni­a­lists re­pres­sed with blo­od and fi­re, to the point that af­ter the pu­blic exe­cu­ti­on, they ex­hi­bi­ted the ble­e­ding skull of Aponte in a me­tal ca­ge in the market of Be­las­co­a­ín, to­day Carlos III, as a fe­ro­ci­ous les­son for black sla­ves”.

“It is trans­cen­dent to me to re­cog­ni­ze that it is a re­quest of the Cu­ban his­to­ri­ans and in­te­llec­tu­als to the aut­ho­ri­ti­es of the country, who ha­ve rai­sed this ne­ed for al­most ten ye­ars, even in the last con­gres­ses of the Uni­on of Wri­ters and Ar­tists of Cuba. We are about to see this dre­am co­me true”.

Jo­sé An­to­nio Aponte was born in Ha­va­na. He was a ca­bi­net­maker car­pen­ter with a marked vo­ca­ti­on for the plas­tic arts; his drawings we­re con­si­de­red as sub­ver­si­ve and used against him as pro­of of his re­be­lli­ous and an­ti-sla­very thinking.

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