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The summer of Latin American photography
Posted by carlos on 2008/7/18 17:51:28 (190 reads)

By Rafael Grillo

It seems that we are passing the times of "the most" ones. In this same space, we commented the recent opening in Montreal of a Cuban art exhibition, promoted as the most comprehensive that had ever transcended the borders of the Island to be shown in strange land. Now the Palais des Beaux Arts de Brussels, due to a combined effort of the Cervantes Institute and the Editorial Lunwerg, hosts Mapas Abiertos: fotografía contemporánea en América Latina (Open Maps: contemporary photography in Latin America); which will attract, between June 27 and September 14, visitors dazzled by a promotion that announces it as "the most complete ever carried out on artists, themes and trends of contemporary photography in South and Central America, and the Caribbean."
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The kidnapping of the 38
Posted by carlos on 2008/7/18 17:29:45 (187 reads)

By Rafael Grillo

If second parts are not good, as common sense dictates, what to expect from 38 versions of the same painting? I admit it: I stopped at the Spanish American Center of Culture with skeptical aftertastes. Moreover, knowing that it would be there, lent by the National Museum of Fine arts, the original of the “El rapto de las mulatas” ("The kidnapping of the mulatto women"). It fills the 70 years since its birth with lusty stateliness, splendid forever in its balanced and achieved kinetic composition, lucid and hussy when giving with the exact mixture of sensuality and violence that accompanies the flares of sex, remarkable in its transparencies and its unique palette of white and gray. This entire masterpiece is so in the style of Carlos Enríquez, the Cuban painter who lived between 1900 and 1957 and undoubtedly gave national tints to the vanguard.
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Death in Art
Posted by carlos on 2008/7/18 16:58:24 (167 reads)

By Rafael Grillo

Is death that major insult to the pride of a human being whose civility takes us up above the rest of the creatures; and it is not enough, however, to secure eternity? Will it be for such a sense of shame in the face of his ephemeral materiality that humans prefer, with modest veil, to cover his final haven from life, that transit instant toward the beyond of his conscience? Or it is maybe fear, that ancestral emotion that takes us down to the common level of the whole animal Kingdom: fear, simply, to the unknown, to the undiscovered, to an afterwards for which we don't have any other reasons of relief but that religious belief in a higher region or the spiritual transcendentalism of the mystics’ faith?
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