More than a project…

Art On Cuba - - NEWS - Llil­ian Llanes & Deb­o­rah de la Paz

Sev­eral events of no­table in­ter­est for Cuban artists and, in gen­eral, for the is­land’s art have co­in­cided in re­cent months. The first, the Venice Bi­en­nial, in which Cuba’s pres­ence is al­most a must, given that this fo­rum has tra­di­tion­ally been used by the coun­try’s au­thor­i­ties to le­git­imize those artists which, ac­cord­ing to the cir­cum­stances, they want to give par­tic­u­lar vis­i­bil­ity. An op­por­tu­nity al­ways longed for by the is­land’s cre­ators to di­a­logue with their con­tem­po­raries in the world and to come into con­tact with the most im­por­tant in­ter­na­tional art crit­ics who sys­tem­at­i­cally come to this city to up­date the vi­sion each coun­try of­fers of its re­cent cre­ation. To­gether with the tra­di­tional event, on the other side of the At­lantic, an ex­hi­bi­tion was in­au­gu­rated in one of Mi­ami’s most im­por­tant mu­se­ums, made up by some of the works that Mr. Jorge Pérez has col­lected dur­ing these years and whose prin­ci­pal in­ter­est, in ad­di­tion to en­joy­ing them, can be the pos­si­bil­ity it gives of get­ting to know the col­lec­tor’s view of cur­rent Cuban art.

In this con­text, what at­tracts at­ten­tion is the cu­rios­ity that ex­ists about Cuban artists, who have been seen cir­cu­lat­ing for some time through the most di­verse cities of Europe, Asia and the United States. It’s worth­while to say that this year has started off with the same in­ten­sity. Of course it hasn’t been pos­si­ble to make known all the projects that have been car­ried out, but those in­cluded here suf­fice to give an ex­am­ple of our asser­tion.

On the other hand, it is known that one of this mag­a­zine’s aims is to make known the re­flec­tions that crit­ics and artists pro­pose on is­sues still not re­solved in con­tem­po­rary so­ci­ety. Some of them: the pres­ence of women in art or racism, are top­ics that quite a great many na­tional cre­ators have paid at­ten­tion to, such as the cases of those to whom we have given the word in this is­sue. In the same way, we con­tinue ob­serv­ing the evo­lu­tion of Cuban art on the in­ter­na­tional mar­ket, and we give some co­or­di­nates to get ac­quainted with it through the anal­y­sis pro­vided by our col­lab­o­ra­tors most in­ter­ested in these mat­ters.

We are also fol­low­ing a phe­nom­e­non that in re­cent times has been grow­ing on the is­land, that of the pub­li­ca­tion of books about liv­ing artists or about the his­tory of Cuban art, whose projects are mul­ti­ply­ing more and more in our world.

The work on the Venice Bi­en­nial which we com­mented about at the be­gin­ning has made us re­mem­ber Art OnCuba’s edi­tion 00, and the ex­haus­tive anal­y­sis that we in­cluded then about the Cuban par­tic­i­pa­tion in this event. More than four years ago. At that time we were seek­ing a road (or many of them), a means (or a sig­nif­i­cant amount of them) to make our project come true, for many to be able to have ac­cess to it. The team that con­ceives and pro­duces the mag­a­zine has gained experience, has changed, has grown. To­day Art OnCuba is, more than a project about Cuban art, an un­ques­tion­able and solid cer­tainty.

Newspapers in English

Newspapers from Cuba

© PressReader. All rights reserved.