Collectivism after Modernism - autonomous learning - Blogs
Collectivism after Modernism - autonomous learning - Blogs
Collectivism after Modernism - autonomous learning - Blogs
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Performing Revolution 157<br />
101. They were not the only ones to concern themselves with this topic: Ponjuán<br />
and René Francisco had also been working on this, as had Novoa and others.<br />
102. José Angel Toirac, interview with the author, Havana, December 22, 2002.<br />
For example, in the ABTV catalog there is a chronology that repeats, but slightly<br />
alters, the one published by the Museo Nacional, adding notes about when Martínez<br />
began to make a living off his work, when he began to work with assistants, and so<br />
forth.<br />
103. Eligio (Tonel), “Acotaciones al relevo,” 61. In the exhibition brochure,<br />
ABTV wrote: “Even though his abstract paintings did not contribute anything<br />
essential to the language of Abstraction nor of Abstract Expressionism, they worked<br />
in opposition to ‘the stereotypes postulated by the School of Havana: light, the<br />
baroque, colorism, typical-ism’ (Amelia Peláez, Carlos Enríquez, Victor Manuel, René<br />
Portocarrero . . . ), and as a means of political opposition, in his participation in the<br />
antibiennial of 1954 in response to the Hispanoamerican Biennial of Art organized<br />
by Batista’s National Institute of Culture and Franco’s Hispanic Council on the occasion<br />
of the centenary of Martí. When these ‘abstract’ works are decontextualized,<br />
the content that springs directly from the formal properties of the work is lost, which<br />
is why we left out the ‘paintings’ and presented a type of documentary information<br />
that would in some way make those contents plain that the works had been made<br />
to transcend . . . If in the period from 66–70 the political conscience became a fundamental<br />
and indissoluble ingredient of his work (portraits of heroes, etc.), putting<br />
to work in an effective way the contents of our culture, it turns out to be paradoxical<br />
that only a few were exhibited, in an isolated way, in group exhibitions, and<br />
that critics abstained from analyzing them. . . . From July to October 1988, the<br />
National Museum organized what would be the Wrst anthological exhibition of the<br />
work of Raúl Martínez, Us. The exhibition . . . placed emphasis on presenting Raúl<br />
as the myth of the great painter, of the modern artist as a minor deity. [Our exhibition,<br />
also titled] Us tries to show him as an accessible creator, who has used his work<br />
to confront individual, social, ethical, and artistic problems in an effective way.”<br />
104. Actually, the dialogue was with two vice ministers since the Wrst one,<br />
Marcia Leiseca, who had been sympathetic to the project, was Wred before it could<br />
open. The show prior to the Haacke project, an installation by René Francisco and<br />
Ponjuán, had recently been closed down in a furor over images of Fidel (wearing a<br />
dress and standing in line, in one case), and Leiseca was sacked as a result. Her replacement,<br />
Omar González, was much more hardline politically such that his political<br />
interests apparently overshadowed his effectiveness with regard to questions<br />
of art.<br />
105. As Toirac explains, “maybe we could have managed to put on an exhibition<br />
but really by then we were exhausted, the internal relations of the group were<br />
not the same as in the beginning . . . all that tension had had an impact on our<br />
friendship and we decided to call the work Wnished once and for all: the work was<br />
what it was, and if Omar González didn’t accept it, well . . . he didn’t accept it but<br />
we were not going to make any more changes.” Interview with the author, Havana,<br />
December 22, 2002.<br />
106. “Ballester and Ileana circulated a paper telling what had happened, with<br />
which Tanya and I were not in agreement . . . [they thought that, as a matter of<br />
ethics, that] one had to give an explanation, an apology or say what happened. But<br />
the censoring of Homage to Hans Haacke was not an exceptional case; you don’t have<br />
to explain, everybody knows what happened. But the reason why we were not in