THE ME­DI­TER­RA­NE­AN RE­GI­ON: AS OLD A CON­FLICT AS MANKIND

Arte por Excelencias - - Ita­lia -

On oc­ca­si­on of the inau­gu­ra­ti­on of the Cu­ban pa­vi­li­on at Ve­ni­ce Bi­en­ni­al Fair that to­ok pla­ce last Fri­day May 12, Ha­va­na ar­tist Car­los Mar­ti­el ma­de a very go­od im­pres­si­on on the pu­blic with his per­for­man­ce Me­di­terrá­neo. This to­ok pla­ce in the lar­ge hall of the for­mer Pa­la­ce of Lo­re­dan. Clo­se to the Grand Ca­nal, its fur­ni­tu­re re­mo­ved from the pre­mi­ses, its mar­ble flo­ors, its wo­ody-pa­nel walls, and its wo­o­den ro­of, the pre­mi­ses evoked fe­e­lings as old as man it­self. The spec­ta­tors we­re pla­ced around the ar­tist. Him, on his kne­es, en­clo­sed in a glass die and anot­her die the sa­me si­ze on top of him but full of cold wa­ter from the ne­arby ca­nal.

The wa­ter pas­sed slowly from one die to the ot­her, by the for­ce of gra­vity, si­mu­la­ting an hour­glass, as Car­los wai­ted, per­ma­nently in si­len­ce, for the ri­se of wa­ter that fi­lled his spa­ce. The who­le au­di­en­ce watc­hed the sce­ne qui­etly, still, for half an hour as the ar­tist was shaking with cold and ex­haus­ti­on, en­clo­sed in the glass die with no chan­ce what­so­e­ver of being able to mo­ve. When wa­ter was re­ac­hing his fa­ce and left al­most no spa­ce in the die, the vo­lu­me of the up­per com­part­ment al­re­ady de­ple­ted, the ar­tist´s as­sis­tants dis­mant­led the struc­tu­re and then he was able to re­le­a­se him­self and go out. A strong ap­plau­se re­soun­ded in the hall, paying ho­ma­ge to the ar­tist and dis­pe­lling the ten­si­on arou­sed for half an hour that se­e­med end­less and le­a­ving Cu­ba´s pa­vi­li­on inau­gu­ra­ted in the 57th Ve­ni­ce Bi­en­ni­al.

As Car­los him­self de­cla­red la­ter, Me­di­terrá­neo ad­dres­ses the is­sue of hu­man mi­gra­ti­ons and makes an in­quiry, spe­ci­fi­cally, in­to Italy and Eu­ro­pe´s com­mit­ment and ac­coun­ta­bi­lity for the Afri­can mi­gra­ti­on. «It is about the way the Eu­ro­pe­an com­mu­nity op­po­ses the per­sons that ar­ri­ve lo­oking for a would-be sal­va­ti­on, le­a­ving be­hind a world of fe­ar and war, to en­ter an even wor­se night­ma­re that has re­sul­ted in hun­dreds of de­ad at the Ita­li­an co­asts or in the im­pos­si­bi­lity of our pe­o­ples to help tho­se who get to ar­ri­ve».

El mo­men­to más emo­ti­vo y pe­li­gro­so, cu­an­do el agua su­pera­ba el cu­e­llo del ar­tis­ta.

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