Arte por Excelencias - - Carta Del Editor -

As we spe­ak, and as though not­hing spe­ci­al we­re hap­pe­ning, he is sit­ting in the midd­le of the se­cond story of his works­hop-ho­me lo­ca­ted al­most across the Pla­za de Ar­mas, which lo­oks on the sta­tue of the Ca­ba­lle­ro de Pa­rís – who­se be­ard the unwary pas­sers-by usu­ally grab. But he do­es not ha­ve ti­me for that kind of thing: he is cre­a­ting whi­le he spe­aks with re­no­va­ted pas­si­on about his new dre­ams.

By his si­de are Ori­ol, di­rec­tor of Te­a­tro de Los Ele­men­tos, and Es­tra­da, who ke­eps track of the sur­roun­ding re­a­lity for him, and al­so his be­au­ti­ful and young wi­fe Da­na, who picks the pic­tu­res in the com­pu­ter for his next Dos­si­er for Arte por Ex­ce­len­ci­as.

Ot­hers at his age lo­ok back at their disap­point­ments and fai­lu­res: he is fully dres­sed in whi­te and in­vi­tes fri­ends for his new wed­ding party in the fo­ot­hills of Es­cam­bray. Be­cau­se he is always ac­com­plis­hing so­met­hing, may­be due to his provincial no­se that ne­ver go­es away, or be­cau­se his sen­se of ful­fill­ment in li­fe is to be use­ful, and mo­ney is me­rely cur­rency and that's it. It is not by chan­ce that he was born in Bai­re, Gran­ma pro­vin­ce.

Ori­ol no­tes that he is the sa­me Nel­son he met at Es­cu­e­la Na­ci­o­nal de Arte, and la­ter met again at Uni­ver­si­dad de las Ar­tes, when Nel­son was al­re­ady a pro­fes­sor of un­dis­pu­ted me­rit, ha­ving be­en trai­ned by the gre­at An­to­nia Ei­riz to suc­ce­ed her at ar­tis­tic te­ac­hing, and whe­re he is cur­rently a con­sul­ting pro­fes­sor.

Most ar­tists wish they could show their work right now at a ga­llery in Ve­da­do or Mi­ra­mar; he is in­vi­ting us, on Fe­bru­ary 14th, for the inau­gu­ra­ti­on of the only ru­ral art ga­llery in the country; and talks for hours on end about eit­her the grap­hics works­hop in Vi­lla Pa­na­me­ri­ca­na, or the pro­ject Bol­si­llo Fla­co, or the last do­na­ti­on of so­me of his works to or­na­ment the walls of a hos­pi­tal in La Ha­ba­na, Ci­e­go de Ávi­la or Las Tu­nas, or his last dream for Ga­le­ría Los Ofi­ci­os in the midd­le of Ha­ba­na Vi­e­ja.

He be­li­e­ves that the com­mer­ci­a­li­za­ti­on of works of art has be­en a key fac­tor in the disap­pe­a­ran­ce of the sen­se of so­li­da­rity ex­pres­sed in the act of gi­ving without re­cei­ving anyt­hing in re­turn but the ad­mi­ra­ti­on and lo­ve of your own folks. An ar­tist li­ves on his work but the­re are many in ne­ed, and ar­tists in Cu­ba and el­sew­he­re should do bet­ter.

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