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Artículos

claudio Antonio Gomez

Claudio Antonio Gomes was born in Belo Horizontes, Brazil, in 1972 and has lived in Salvador de Bahia over the past thirteen years. With a degree in Education at the Guidnard School, he’s been an illus

A Passion for Humor

One of those indispensable books is no doubt A History of Graphic Humor in Cuba, launched in 2007 as part of the History of Graphic Humor collection directed by the General Foundation of the Alcala de

Between Us and the Interpreter: Minimal Notes on an Exhibit by Rene Francisco

It’s understood that Rene Francisco interprets in many ways, as if his doing allowed him to cover with just one stroke several meanings of such an expansive verb. On one hand, there-s no doubt that he

Roberto Diago: The Nigro Enigma

There’s no social layer, group or status racism is at odds with. You may fall victim of racism no matter how deep your pockets are, the place where you live or the position you hold down. It’s clear

A Shock in the Paradise of Symbol

In the history of conceptual art, there are works that live out where the idea dethrones the object or the material from its own invisibility of disappearance. So is the case of the mile-long tin rod b

Four in a Drawer

Earlier today I skimmed through my archives and I drew out not one but four files at the same time. In the beginning, I’d thought about referring to the ties that once existed between two Caribbean art

Reeking of Anthropological Danger

Sometimes I’ve said on television that in the face of the music video’s drive into ethno-esthetic profiles and the social-cultural expressions of certain individuals and groups, we should take on the n

RED. An exhibit of Cuban posters curated by designer Pepe Menendez Havana, 2009

Red is the color that corresponds to the lowest light frequency seen by the human eye. The red light’s wavelength is about 700 nm. The lowest frequencies, that is, the longest wavelengths, are called i

Jose Bedia:Our obligation of going cross-cultural

Unlike artists whose esthetics have been more or less centripetal –that is, art-centric, directed toward the historic vortex of the Western culture– Jose Bedia’s has proved to be, on the contrary, comp

A Tico in Habana

If archives were not to be delved into and were scorned as simply useless and lugubrious places, we’ll be taking the risk of letting boldface names like Max Jimenez Huete (1900-1947) fall into oblivion