Collectivism after Modernism - autonomous learning - Blogs
Collectivism after Modernism - autonomous learning - Blogs
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122 Rachel Weiss<br />
profound economic collapse. 42 By 1986, the pressures of both external change<br />
and internal corrosion had become intense enough that Fidel Castro launched<br />
the highly rhetorical “RectiWcation” campaign, avowedly to return the revolution<br />
to its original (Guevarist) path. 43 Collectivity as redeWned by groups<br />
of younger artists took on an urgency and radicality that matched these new<br />
circumstances. Many of the generation’s artists formed into a series of shifting<br />
groups, 44 including Grupo Puré, Arte Calle, Art-De, 45 Proyecto Hacer,<br />
Proyecto Pilón, and Grupo Provisional, whose mostly performative and disruptive<br />
works 46 sought to reinscribe a space for a critical culture within the<br />
broad emergencies of Cuban society. Paradoxically, the further challenge<br />
that their work represented was made possible, in part, by a more relaxed<br />
attitude on the part of the government following Mariel’s purge of “undesirables”<br />
that, along with the gradual withdrawal of the Soviet presence,<br />
temporarily resulted in a more benign, permissive climate for culture.<br />
For these artists, collectivity and political critique were inseparable<br />
parts of “that idea, half-utopic if you like, that somehow art should serve<br />
for something,” 47 an art that therefore escaped the risk of formalism and<br />
solipsism. The work of these groups, characterized by audacity, acid humor,<br />
and passionate attachment to the idea of art as ethical practice, was a kind<br />
of hooligan hotwire job, bypassing ofWcial ignition circuits. It magnetized a<br />
large following in Havana, leading the way in raising for public discussion the<br />
taboo subjects of corruption, dogmatism, cult of personality, lack of democracy,<br />
and so on. Despite this strong critique, these groups (with the exception<br />
of Art-De) were not dissident but rather worked in an uneasy and volatile<br />
process of negotiation with state power, opening a space of critique that was<br />
neither fully inside nor outside of it.<br />
The time during which these groups were active was one in which<br />
all the groups, all the proposals, Wlled together into a grand mosaic, a kind<br />
of spontaneous whole. The groups of the mid- to late 1980s spanned a range<br />
of opinions about the willingness of the regime to enter into dialogue and,<br />
thus, about the possibility of political change. All of them, though (except<br />
Puré, which was slightly earlier), shared a conviction about art as a site for<br />
reshaping public agency and saw their own work as part of a broader movement<br />
or sentiment in Cuban society. The collectives of this short period<br />
were, fundamentally, vehicles through which to engage in this political dialogue,<br />
using a grafWtti and guerilla theater aesthetic in order to shock and to<br />
reinvigorate, visually and politically, the languages of Cuban art. The works<br />
often had an intentionally bad-art character, more half-done than poorly<br />
done, refusing to become Art or to become Wxed ideologically.<br />
The transition from “Volumen Uno” to the more intentional<br />
collectivity and more explicit politics of Arte Calle and Grupo Provisional