Arte por Excelencias - - La Columna -

Latin Ame­ri­can art exists, just as the­re is Asi­an, Afri­can and Eu­ro­pe­an, alt­hough cer­tain cu­ra­tors and cri­tics trans­na­ti­o­na­li­zed want to deny it, be­cau­se of the ina­bi­lity to see the cons­tancy of its chan­ging plu­ral iden­tity and that abun­dant sig­ni­fi­ca­ti­on that in it ac­qui­re the in­ter­na­ti­o­nal stan­dards, or to be faith­ful to a prag­ma­tic de­pen­den­ce on ex­ter­nal powers and market in­terests.

But it is not a uni­form ty­pe of art, whe­re only the uni­tary com­po­nent of the com­mon re­gi­o­nal ge­o­graphy pre­vails, nor can it be re­du­ced to a sum of mo­da­li­ti­es con­fi­ned to the tra­di­ti­o­nal co­des of ex­pres­si­on de­ri­ved from au­tocht­ho­nous syn­cre­ti­zed and re­newed cul­tu­res. Its na­tu­re of art in mo­ve­ment im­pli­es the exis­ten­ce of an im­men­se com­plex of ex­pres­si­ons - in va­ri­ed sup­ports and with nu­me­rous ma­te­ri­als and met­hods - that manifest in a dif­fe­rent way (very co­he­rent with each na­ti­o­na­lity, cul­tu­re, cir­cums­tan­ce and per­so­na­lity) the as­si­mi­la­ti­on of aest­he­tics Clas­si­cal, mo­dern and post­mo­dern, or de­ri­ved from that amal­gam of nar­row ro­ads to the term-wild­card “con­tem­po­rary art.”

Was not this pla­ne­tary for­ce, trans­la­ted by the pic­to­ri­al ima­ges of a group of fun­da­men­tal re­pre­sen­ta­ti­ves of mo­dern Latin Ame­ri­can aest­he­tics, what in the eigh­ti­es and ni­ne­ti­es ma­de way for them in auc­ti­on hou­ses and Ame­ri­can and Eu­ro­pe­an collec­ti­ons, tur­ning them in­to high fi­nan­ci­al va­lu­es?

And was it not the we­alth of cre­a­ti­ve pe­cu­li­a­ri­ti­es of the ar­tists born in the­se is­lands and con­ti­nen­tal spa­ces that sig­nify us, pro­jec­ted through ve­nu­es re­newing bi­en­ni­als and ex­pe­ri­men­tal cen­ters of vi­su­al cul­tu­re, which has al­so had an im­pact on the ope­ning of co­des that bro­a­den the do­mains of to­day's art?

Latin Ame­ri­can art does exist.

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