1347:âDuring 1988 and throughout 1989 some isolated events occurred in various artistic manifestations, particularly in the visual arts, which reached relative relevance and not always because of their artistic excellence (âŠ) A delicate trend of the young visual artist current has been the treatment of heroes, national symbols and the image of the Commander in Chief. The image of the Commander or some of his identifying attributes has been treated ambiguously and obscurely in its real meaning (âŠ) This is unacceptable. The symbols cannot be touched with ambiguity, they are necessary for the unity that our people require as an indispensable condition for the triumph of their social project. There is no valid argument that justifies the right to damage its patriotic meaning and its mobilizing capacity. An attack on them constitutes, in fact, being in the enemy's territory (âŠ) Political institutions and cultural institutions are extremely jealous of the results of artistic works that address the theme of heroes and patriotic symbols."
1395:âIn a few years, the BFC has turned Mendive's work into the banner of a mystification of the role of tradition in our visual culture, hyperbolizing - as it has happened in other genres - the presence of African roots in it . This voluntarism exhibits its justification as foreign exchange earnings and is protected by this type of acceptance of the âartistic visual values of our folkloreâ, which is nothing more than the thirst for exoticism of the metropolitan centers. Beyond what was obtained in economic matters, this super-promotion has made Mendive's work trivialize the initial contents it used, ranking its decorative values according to a market that is more quantitative than qualitative. The functional weakening of the use value of an artistic work only confirms the anthropological misery of its context"
29:
1199:âAmong its fundamental objectives was to group the proposals in the most recent plastic arts that had systematically operated in the artistic medium. The Project brought together a plurality of artistic discourses that prevailed in the cultural environment. The aim was to create a space where the discussion of the political could be taken to the artistic level and avoid the political criteria defining the suitability of the aesthetic and the artistic. It was conceived by artists and cultural institutions as an attempt to create a space of gradual opening to gain mutual trust between creators and power and between creators and society. It seemed that, finally, the Force had a Castleâ
1053:"Nosotrosâ: exposiciĂłn antolĂłgica de la obra de RaĂșl MartĂnezâ ('We': An Anthological Exhibition of the work of RaĂșl MartĂnez) already placed the cultural institutions as historical activators or repressors of the contents of the artistic work. âWeâŠâ exposed the need to restore the loss of original content due to the extortion that the practical circumstance to speak from the work. It also unmasked the mercantile fetishism of the artistic signature, and the performative arbitrariness of each work displaced from its original context. The curatorship was also used to evade and sanction myths of institutional criticism, as critical manipulation of criticism"
604:(For full equality. Together and Forward) was the slogan of a propaganda billboard designed by the Editora PolĂtica (Political Publisher) in the early 90s. ABTV used as the conceptual structure of the project the same inclusive rhetoric of the political slogan that they cited, for this occasion they invited artists from different generations to participate, with opposing aesthetic discourses, with various formal solutions, both artists promoted by the Ministry of Culture and artists marginalized by institutions and their circumstantial cultural policies. For this project ABTV rescued works by artists who had fallen into oblivion such as the so-called
323:. The project, which was curated by Jurgen Harten and advised for the Ministry of Culture by the artist Antonio Eligio Tonel, included in the catalog an Osvaldo SĂĄnchez text on ABTV, as the text provided information on Homage to Hans Haacke, the Ministry of Culture pressured Harten to suppress the Osvaldo SĂĄnchez text from the catalog. Harten had no choice but to yield to official pressure but finally he published the text as an annex to the catalog, distributing it within him. When the catalog arrived in Cuba, the Ministry of Culture kidnapped all annexes. In 1991, Art collector Peter Ludwig expressed interest in buying the controversial
17:
356:
seemed to be more than what the aforementioned institutions could allow. The tribute to Haacke - what a paradox, precisely to him! - never got to opened. The pieces resorted to parody effects, especially promotional manipulation was parodied. The important thing was to accuse the institutional mechanism (commercial or political) that corrupted the semantic nature of the work (âŠ) Even though it has not was opened, Homage to Hans Haacke is one of the key exhibitions of the 1980s in Cuba; and not precisely for the reasons that determined its cancellation. Whoever likes it, the Cuban visual art from 90âs will have it as a paradigm
299:
Visual Arts called an urgent meeting with Omar GonzĂĄlez where the contents of some works were questioned because the
Ministry of Culture found it problematic. The officials of the Council demanded to suppress information that the artists considered essential for the understanding of their works. Consistent with Haacke's methodology, ABTV refused to meet the Council's demand, them the exhibition was "canceled" not without the Council first demanding that the content of the meeting not be unveiled in order to prevent the âfailed negotiationâ from being construed as official censorship. Tanya Angulo and
1323:âWe have to demand respect for the deepest ethical, political, and cultural principles as well. Often, when there is a carelessness in the treatment given to patriotic symbols, it is a result of the fact the right artistic form hasnât been found, (but no matter what) for ethical reasons it os necessary to be careful to present the symbols of our society in a dignified manner exalting the highest values of Cubanism".
585:
Arts), anticipated and sustained our criticism of it. These appropriation and parody procedures show that the
Ministry of Culture offered its support to the Project as a way to update its institutional policy and management; that we take advantage of such coverage to make this exhibition; that Glexis used us âto re-expose in the Project, and that we used Glexis to express all of the above
1304:
go through the strict control mechanisms to which any artist invited to exhibit abroad was normally subjected. The change in the
Ministry of Culture policy made possible for many young critical artists to leave the country and many, disappointed with the new environment of censorship and the imminence of a great economic crisis that the government would call the "PerĂodo especial" (
1178:"Already in the late 1980s, cultural institutions did not know how to confront the opportunism of the Party's dogmatists without killing the mental effervescence of those young people born with the Revolution. Power could not understand that this ruthless criticism was the last resort of the Revolution's own legitimacy as a living event"
247:(Castle of The Force Project) In the late 1980s, the cultural life of Havana was shaken by a wave of young art critical of the tightness of the structures of the Cuban government. These projects were developed in galleries with high visibility and others were carried out directly in public spaces. Following the controversy,
1422:) based on their campaigns, days, ephemerides and conjunctural moments, among them the speeches of the main leaders of the Revolution, declarations of the Revolutionary Government, documents of the PCC and other texts that were oriented by the propaganda organizations subordinated to the Central Committee of the PCC
205:
author's representative irony. The Museum exhibition focused on formal analysis that presented him as a successful artist, while displacing or omitting the contents of his complicated relationship between personal life and artistic production in relation to the social and historical context and its institutions.
131:, the gesture of appropriation of their reproductions in books and art magazines critically pointed to the only way in which international art could be consumed in Cuba, deprived of direct experience through its massive reproduction. Parodying the titles of the famous North American artist the work was called
429:⊠we can count on a powerful source of inspiration such as our Revolution. This fact imposes on us a fundamental question: How to merge aesthetic demands with revolutionary inspiration? I believe that the answer cannot be condensed into an only one formula; I believe that each artist must find his formula
1303:
Despite its internal policy of prohibitions and censorship in the late 1980s, the
Ministry of Culture changed its policy of international promotion of the visual arts, the change would allow any artist with a letter of invitation to carry out a project abroad could leave the country without having to
1266:
The Vice
Minister of Culture, the poet Omar GonzĂĄlez, held the position of President of the National Council of Visual Arts when Marcia Leiseca was dismissed. The organizers of the project were not invited to the closed-door meeting, but the officials of the Council were, among them the Artistic Vice
584:
Glexis appropriates the methodology of Homage to Hans Haacke to parody our attitude towards the institutional framework that promotes us. This work reveals that Glexis's critical attitude was premeditated by us in the same way that the institution that promotes the
Project (National Council of Visual
160:
ABTV works with appropriation, or with the appropriation of appropriation, but there is always an ethical component in the work, an element of social criticism. The reference to art becomes a metaphor, not an end in itself, at least not in formalistic terms. A particular tension is created by the use
224:
parodied the title of the Museum exhibition and criticized it by emphasizing the problematic contents that the official exhibition avoided. For this ABTV selected six works not included in the official exhibition and accompanied them with factual documentation. One of these works was made by ABTV in
1417:
The
Political Publisher was created on April 1, 1963 with the aim of disseminating the work of the Revolution through editorial and graphic supports. Its objective was to publish materials of a political-historical and economic nature, the political propaganda of the Partido Comunista de Cuba (PCC)
1226:
The
Consejo nacional de las Artes PlĂĄsticas (CNAP) (National Council of Visual Arts) began operating in April 1989 as a state body subordinate to the Ministry of Culture, it was made up of four national institutions âCentro de Desarrollo de las Artes Visuales (Center for the Development of Visual
369:
and the castle became the Museum of Cuban
Contemporary Ceramics. In a new act of demonstration of power, the Cuban Communist Party reaffirmed the limits that young visual artists questioned as a revolutionary act. After the Project was censored, an atmosphere of cultural repression was unleashed,
548:
laws. ABTV used the history of photography as a pretext to denounce the process of cultural and commercial fetishization to which the image is subjected by conserving, as if it were unique, an object that by its nature is multiple; and ideological fetishization as it is promoted as the image that
355:
Homage to Hans Haackeâ... was announced as an ideological operation worthy of Haacke. The extreme critical acuity towards institutions and representation - cynical, burlesque, terrible - of not a few inconsistencies between art and status, between art and merchandise, between art and politics; It
298:
of the German author's methodology was again used as a resource for a deep critique of institutions and official cultural policy. The exhibition overcame the initial control mechanisms and came to be installed in the Castle, but hours before the opening the alarm went off, the
National Council of
65:
possibly the most rigorous group in Cuba today (âŠ) Though they occasionally produce individual work, the group as such applies itself to appropriating other artistsâ work to make theoretical criticism about culture and society. The team started with Ballester and VillazĂłn, with Toirac joining a
204:
as a great socialist, colorful and pop propaganda billboard, which celebrated the social achievements of the Revolution while hiding the complex scaffolding of contradictions of a complex, at times violent, revolutionary process that the same artist had suffered and was somehow implicit in the
148:
What is interesting in the work of this group is that they do not use the appropriation process like a recipe. Instead, each project has its own distinct structure and point, all carefully researched. The ABTV team can be better understood, in their present work, as a counterpart to the U.S.
285:
The production process of the Project included several meetings between the organizers, the invited artists and the National Council of Visual Arts subordinated to the Ministry of Culture, the meetings should guarantee the control of the contents as well as an assessment of their possible
573:
ABTV closed her exhibition with this work that reflected on how the critique of institutions would end up becoming part of her falsely self-critical discourse. To do this, they intentionally invited Glexis Novoa, an artist who had already participated in the Castle of The Force Project.
543:
that would accompany the edition. Feltrinelli chose a photo of Che de Korda and edited it, Feltrinelli did not pay copyrights and Korda did not claim them, among other things, because in the first years of the Revolution, Cuba maintained an ambiguous relationship with international
278:â, they were assisted by the former Vice Minister of Culture Marcia Leiseca who then chaired the Consejo Nacional de las Artes PlĂĄsticas (CNAP) (National Council of Visual Arts). With irony, the Project took as its name the name of the building where it would be developed, the
103:
The use of strategies such as quote and appropriation, as well as manipulation through exhibition curation, simulating institutional mechanisms capable of altering the functionality of each work, would be incorporated to a greater or lesser extent in all ABTV projects.
1180:. SĂĄnchez, Osvaldo. "UtopĂa bajo el volcĂĄn. The Cuban avant-garde in Mexico", Plural Magazine, Mexico City, 1992, republished in Santana, AndrĂ©s Isaac. Nosotros los mĂĄs infieles. Narraciones crĂticas sobre el arte cubano (1993â2005), Murcia: CENDEAC, 2007, p. 113
91:
while at the same time dividing themselves into many other successful Cuban artists while inventing their new work, appropriating their formal solutions to polemicize the contents, thematic and stylistic, of the parodied artists. The exhibition worked
138:
This strategy of manipulating through the curatorship of exhibitions and simulating the institutional mechanisms capable of altering the functionality of each work, would be incorporated to a greater or lesser extent in all ABTV projects.
282:(Castle of the Royal Force) of Havana, an old Spanish military fortress that, after having been the headquarters of different cultural institutions by then, functioned as an exhibition space attached to the National Museum of Fine Arts.
1380:âIn short, it involved the application of the âparametersâ of revolutionary culture, established by the regime, to those who in their works and, more importantly, their people, projected values contrary to official ideology and moralsâ
443:
from 1986 formally represented with the same style. The work demonstrated how Orlando Yanes had used the same "formula" to express two different political realities and obtain personal benefits with the complicity of the institutions.
66:
little later, and them Angulo. By 1989 they decided to split up again, although temporarily. They regrouped in 1991. Ballester and VillazĂłn set the direction of the group with a team project realized while they were studying in the ISA
561:
bill for the first time, it did not include the original photo of Korda but the Feltrinelli edition that made it famous. The purchase of the poster closed the cycle of the commodification of the hero reduced to its currency value.
259:. In his article, the Minister of Culture did not hide his concern about how the new critical audiovisual production, which was exhibited in some state galleries not suitable for the content of the works, could be received by the
590:
171:
628:. The exhibition and the montage design of the works evaded any notion of hierarchy for use in local institutions, the works were distributed in the space through a visual design that privileged their formal values.
327:, but the National Museum of Fine Arts declared it of heritage interest and acquired it for his collection even though the Museum has never allowed its public display. ABTV was dissolved after the censorship of
483:
to Fondo Cubano de Bienes Culturales (BFC) (Cuban Fund of Cultural Assets) and burned it as a performance that appropriated Juara's action. The video documenting the burning of ABTV was accompanied by the text
549:
best embodies the values of the historical character. ABTV emphasized that this fetishization was not an inherent quality of the object but was determined by the institutions that preserve and promote it. An
1333:), published the article "Reflections on artistic and literary creation today" in the magazine El Militante Comunista (The Communist Militant) edited by the Departamento de OrientaciĂłn Revolucionaria (DOR) (
1244:
Despite the control of the National Council of Visual Arts during the fourth exhibition, the problems began. The Ministry of Culture pressured the Council to dismantle some paintings from the exhibition
1006:â⊠I approached political figures and difficulties came because that was not the image that was wanted. I'm starting to have problems because I wasn't supposed to be the right one to paint those things"
431:â. The portrait in the style of a revolutionary propaganda billboard was supplemented by factual documentation, a resume witch included significant - omitted - facts from his artistic career before the
974:(RaĂșl MartĂnez: The Big Family), in which she argues an interpretation acceptable to the Cuban government. Cuban Art News published a conversation with Corina where she summarizes his investigation:
1122:âSocialismâs reason for being is to elevate manâs capabilities and possibilities to a maximum , to also elevate the freedom of creation to its highest degree, not only in form, but also in content.â
553:
reproducing the famous photograph superimposed with its history and the work would be finished when it was sold - as a poster that recognizes itself as merchandise - for a three-peso bill. Ernesto
1621:
Gregory, Sholette; Stimson, Blake (editor). Collectivism after Modernism: the art of social imagination after 1945. Minneapolis: University of Minnesota Press, 2007, p. 99, 123, 132-135, 144, 156.
1271:
and Elmo HernĂĄndez. Since 1995 Elmo HernĂĄndez has been working for the Ludwig Foundation in Havana. During the celebration of the twentieth anniversary of the creation of the Foundation in 2015,
197:
For young Cuban artists, Raul Martinez's work was a point of reference in the problem of recontextualizing international artistic trends within the rigid official discourse of national identity.
94:
as a critic, bringing to the fore the stylistic miseries of appropriation. The works magnified those telltale effects of a constant search for prestige in the use and abuse of metropolitan models
1776:
1162:âmay the Party today have the certainty that it has cultural institutions and organizations of creators with political seriousness, professional rigor and ready to decisively help such issues"
1014:âThe climate of homophobia and intolerance, which has been growing since the mid-1960s, with the installation of concentration camps of the Unidades Militares de Ayuda a la ProducciĂłn (UMAP) (
63:
Camnitzer created the acronym with the surnames of its members during his research on Cuban art that he would later publish as New Art of Cuba. In his book Camnitzer refers to ABTV work as â
216:(MNBAC) (National Museum of Fine Arts of Cuba), ABTV inaugurated its alternative anthological exhibition at the Provincial Center for Plastic Arts and Design in Havana in January 1989. â
1132:
was arrested on charges of drug trafficking and a month later he was shot with three high-ranking military officers. Between 1988 and 1989 several artistic projects were censored:
1018:), spread to the culture through eventual arrests, expulsions from centers work or specific censorship. According to various testimonies of Padilla and Cabrera Infante himself,
96:â. Ballester and VillazĂłn questioned controversial local issues such as the relationship between mainstream and periphery, cultural policy and national identity, international
1257:
in a "disrespectful" manner. The artists accepted the censorship and the exhibition was still open to the public, but Marcia Leiseca was dismissed as President of the Council.
24:
unpublished book cover. From left to right, Juan Pablo Ballester, Ileana Villazón, Marcia Leiseca (President of the Council of Visual Arts), José Toirac and Tanya Angulo, 1989
1197:) was inaugurated on March 25, 1989 after a nine-month pre-production period. Seventeen young artists should participate cycles of six exhibitions. According to its authors:
492:) in which its authors explained that their action opposed Juara's political manipulation, but also the cultural manipulation of the Cuban Fund of Cultural Assets by the â
276:
a project that would make it possible to carry out critical artistic proposals in a space for debate that would lay the foundations for later circulation broader social
1040:
at "Mea Cuba before and after", Galaxia Gutenberg, Barcelona, 2005, p. 485, cited by Rafael Rojas at "Brief history of censorship in Cuba (1959â2016)" at razon.com.mx
419:
presented a large portrait of smiling Yanes in the billboard style of Che that he had designed for the facade of the building of the Ministerio del Interior (MININT) (
290:
exhibition was scheduled as the fifth exhibition and should have opened in late September 1989. ABTV presented their project as a tribute to German conceptual artist
1565:
Molina, Juan Antonio. âLa marca de su cicatriz. Historia y metĂĄfora en la fotografĂa cubana contemporĂĄneaâ (1996) published by Santana, Isaac AndrĂ©s (editor).
274:
arises. Taking as a frame of reference the concerns of the Minister of Culture, its organizers, FĂ©lix Suazo, Alexis Somoza and Alejandro Aguilera, conceived it as â
1579:
FernĂĄndez (Tonel), Antonio Eligio. âAcotaciones al relevo (sobre las artes plĂĄsticas en Cuba 1986-1989)â (1992), published by Santana, Isaac AndrĂ©s (editor).
400:. The comparison revealed analogies in terms of objectives, official production, setbacks in performance, limitations and expectations of its defensive function.
624:. In this project, ABTV acted as curators of a choral group show that they inserted from a small cultural institution into the great official event of the IV
307:
and Ileana VillazĂłn wrote detailing the details of the censorship. Ballester and Ileana printed hundreds of copies that they distributed themselves the night
1030:
was suspended from the Art Schools and the works of theater 'MarĂa Antonia' by Eugenio HernĂĄndez Espinosa and 'Los mangos de CaĂn' (The mangoes of CaĂn) by
1366:. directed by Saba Cabrera and Orlando Jimenez Leal in 1961, the closure of the cultural supplement Lunes de RevoluciĂłn same year, the withdrawal of the
344:...In Cuba, as in any other regime of real socialism, censorship is a resource of the State, inscribed in the Constitution, the Penal Code and the laws
1055:. SĂĄnchez, Osvaldo. "Acciones of Toirac â Tanya and Ballester â VillazĂłn", supplement in the catalog Kuba o.k. Aktuelle Kunst aus Kuba. StĂ€dtischen
865:
1425:
342:
recalled that, even after a period of tolerance, censorship continued to be part of the repressive framework of the totalitarian regime, because "
1321:
entitled âCultura cubana, escudo ideolĂłgico y moralâ (Cuban culture, ideological and moral shield), in which the Minister of Culture declared:
1156:
Armando Hart expressed the need to create alternative spaces in which to channel and control the new critical art, which due to its character â
1677:
De la Nuez, IvĂĄn. âArte cubano en los 90: los nuevos mapas y las viejas trampasâ. Apuntes Posmodernos/Postmodern Notes, Fall, 1994, pp. 46, 48
620:
parodied the ideological cynicism with which the Editora PolĂtica (Political Editor) advertised the achievements of social integration of the
232:
1117:
229:
as a nod of complicity between the artist and the alternative rereading that the new generations made of the work of the established artist.
1281:âhonored two personalities of Cuban culture who bet from the beginning on the achievement of the Foundation: the poet Omar GonzĂĄlez and Dr.
594:(Together and Forward!. Art, Politics and Willpower of Representation) (1991), IV Havana Biennial, House of the Young Creator, Havana, Cuba.
1813:
1512:
Volume 1â4. Spain: Fitzroy Dearbora Publishers, 2001; Routledge Taylor Francis & Group London and New York, 2015. p. 1839.
213:
187:
1116:. During this period of high tension, the VI Congreso de la UniĂłn Nacional de Escritores y Artistas de Cuba (UNEAC) (VI Congress of the
1231:(Wifredo Lam Center) and Museo Nacional de Bellas Artes de Cuba (National Museum of Fine Arts of Cuba)â and a representative group of â
1235:â. The Council outlined the policy for the promotion of the visual arts in Cuba and established the mechanisms for its implementation.
1607:
SĂĄnchez, Osvaldo. âUtopĂa bajo el volcĂĄn. La Vanguardia cubana en MĂ©xicoâ (1992) published by Santana, Isaac AndrĂ©s (editor).
1139:(Quality Artist), Habana Gallery, Fondo Cubano de Bienes Culturales (Cuban Fund of Cultural Assets); the exhibition and performance
975:
1096:
embarked on his own set of self-proclaimed reforms as the "RectificaciĂłn de erroresâ (Rectification of Mistakes) campaign. In 1989
612:, for example, from this group of realistic artists, Cosme Proenza was invited to exhibit alongside young critical artists such as
180:
127:. Ballester, Toirac and VillazĂłn carried out a team work in which they rephotographed reproductions of the famous appropriationist
467:
and later burned it in front of the Cuban Museum in Miami. According to Juara, his burning was a symbolic way to protest against "
1334:
120:
1217:, Eduardo PonjuĂĄn, Francisco Lastra and Segundo Planes distributed in six formed exhibitions by teams of three and four artists.
1292:
1668:
1616:
1602:
1588:
1574:
1560:
1546:
1532:
1503:
1495:
834:
796:
758:
694:
656:
263:
and interpreted by a society without rights to spaces for exercise institutional criticism and without cultural education in
1551:
Navarro FernĂĄndez, Wendy. âPensar el arte: espacios y tentativasâ (1996), published by Santana, Isaac AndrĂ©s (editor).
1480:
DĂaz Bringas, Tamara. "Nine Innings in 1989", Art Journal Open from Art Journal 73, no. 2, Summer 2014. artjournal.com
1285:, for trusting in the usefulness of promoting this space in our civil society aimed at filling gaps in the cultural network"
175:(âWe": Anthological Exhibition of RaĂșl MartĂnez's Work) (1989), Provincial Center for Plastic Arts and Design, Havana, Cuba.
161:
of a procedure traditionally considered unethical, as plagiarism would be, to transmit messages based on moral indignation"
885:. Spain: Fitzroy Dearbora Publishers, 2001; Routledge Taylor Francis & Group London and New York, 2015. p. 1839.
1818:
1686:
Izquierdo, Madeline. Las Razones del Poder, Proposiciones. Revista de la FundaciĂłn Pablo MilanĂ©s, nÂș. 1 1994, pp. 49, 50
1708:
1654:
1633:
1593:
Medina, CuauhtĂ©moc. âCubantown. Una diĂĄspora estacionada en MĂ©xicoâ, published by Santana, Isaac AndrĂ©s (editor).
1475:
1383:
1041:
1026:
and José Mario were briefly imprisoned, they separated the black Marxist Walterio Carbonell from UNEAC, the pop artist
994:
907:
1663:. Revised Edition, Austin: University of Texas Press, 2003, pp. 188, 190, 194, 251-255, 282, 322, 328, 370.
1517:
890:
786:
748:
684:
646:
119:
and Ileana VillazĂłn were invited to participate in Young Cuban Artist, an exhibition curated by Rachel Weiss for the
336:
paradoxically, our criticism of the institutional framework could also be registered as institutional self-criticism
1015:
1674:
Batet, Janet. "ÂżEn pos de una era cĂnica?". Lo que venga. PublicaciĂłn de Artes Visuales, año 2, nÂș. 1, 1995, p. 16
1210:
1823:
1349:
Quoted by Alexis Somoza in the version of his essay "La generaciĂłn de la esperanza cierta" published in his book
1158:
is always accompanied by a certain harshness against the above and a determined interest in impacting an audience
1113:
420:
331:. In 1991 Ileana VillazĂłn went into exile in Mexico and in 1992 Juan Pablo Ballester went into exile in Spain.
1701:
1647:
1626:
1468:
1426:
http://www.uneac.org.cu/noticias/la-editora-politica-en-el-contexto-editorial-de-la-revolucion-cubana-1963-2018
1202:
1133:
987:
934:
494:
hyperbolization of the exchange values and commodification of the Cuban cultural heritage assuming the work of
1785:
Fondo Cubano de Bienes Culturales (BFC) (Cuban Fund of Cultural Assets), fcbc.cu/es (in Spanish), May 27, 2015
1268:
43:(ABTV Group) was the name given to the artistic collaboration between Cuban artists Tanya Angulo (1968),
28:
1756:
Mosquera, Gerardo. "El nuevo arte de la RevoluciĂłn", UniĂłn. Revista de Literatura y Arte, nÂș. 13, 1991, p. 18
1777:
Interview with Jose MarĂa Juara about his burning of Manuel Mendive's painting at the Cuban Museum in Miami
1769:
For a better understanding of Revolutionary Ideology and Homosexuality in the 60s and 70s: Ocasio, Rafael,
463:) where the author explains the political reasons why he bought the painting El Pavo Real (The Peacock) by
1779:
Cuba and Freemasonry. Everything about Cuba, Freemasonry and culture in general (in Spanish), Mar 17, 2010
1523:
Espinosa, Magaly. âCuradurĂa por quĂ© y para quĂ©â (2001) published by Santana, Isaac AndrĂ©s (editor).
1454:
1027:
613:
226:
201:
191:
1828:
1537:
Power, Kevin. âCuba: Una historia tras otraâ (1999), published by Santana, Isaac AndrĂ©s (editor).
393:
279:
108:
1008:. RaĂșl MartĂnez in "I am no longer an avant-garde artist", interview by Angel TomĂĄs, published in the
557:
had been president of the National Bank of Cuba from 1959 to 1961, in 1983 the Bank printed his three
76:
as a creative procedure as well as the use of curatorship as a critical structure in their exhibition
1437:
1329:, head of the Department of Culture of the Central Committee of the Partido Comunista de Cuba (PCC) (
1037:
304:
112:
69:
44:
16:
424:
236:(Homage to Hans Haacke) (1989), Castle of The Force Project, Castle of The Real Force, Havana, Cuba.
1201:. The organizers would participate in the project as artists along with Glexis Novoa, TomĂĄs Esson,
535:
looking for the image that he would use on the cover of his publication of the Diario del "Che" in
1794:
1689:
Murphy, Jay. âArtist on the Edge in Cubaâ. Art Papers, Vol. 17, number 3, may/june, 1993 pp. 25â27
1147:(Group Street Art) at GalerĂa L; the performances of the Group AR-DE (art-law) in the 23 y G park.
1056:
733:
320:
1419:
1338:
1330:
976:
https://cubanartnews.org/en/2012/10/25/conversacion-sobre-el-libro-raul-martinez-la-gran-familia/
528:
412:
334:
ABTV ended its text of presentation of the catalog with the following self-critical reflection: "
260:
256:
1725:
1718:
1771:âGays and the Cuban Revolution: The Case of Reinaldo Arenas.â Latin American Perspectives
1104:
and many Cubans hoped that the visit would spur political reforms initiated in the USSR or in
311:
was due to open. The Ministry of Culture deleted all information related to the censorship of
859:
1788:
1023:
190:((MNBAC) (National Museum of Fine Arts of Cuba) presented a major exhibition of the work of
1453:
Eric HernĂĄndez, Henry. "El ruido de la erudiciĂłn", Hypermedia Magazine, November 24, 2020.
1293:
http://www.granma.cu/cultura/2015-01-28/fundacion-ludwig-de-cuba-vanguardia-y-participacion
1397:. ABTV, âHomage to Hans Haackeâ, presentation text of the exhibition, unpublished catalog.
970:
RaĂșl MartĂnez pass away in 1995. In January 2012, Corina Matamoros published her research
8:
850:
Suazo, Somoza, Aguilera, FĂ©lix, Alexis, Alejandro (1989). "La fuerza tiene un Castillo".
73:
1406:
ABTV, âHomage to Hans Haackeâ, presentation text of the exhibition, unpublished catalog.
1371:
1128:(A jar jar II) by TomĂĄs Esson at Gallery 23 and 12 in Havana. On June 12, 1989, General
1288:
1227:
Arts), Fondo Cubano de Bienes Culturales (BFC) (Cuban Fund of Cultural Assets), Centro
1165:
252:
1378:
in 1971, and the process of "Parameterization" of the seventies. The Parameterization
1019:
1745:
1714:
1704:
1697:
1664:
1650:
1643:
1629:
1622:
1612:
1598:
1584:
1570:
1556:
1542:
1528:
1513:
1499:
1491:
1471:
1464:
1097:
1077:
1031:
990:
983:
930:
886:
830:
792:
754:
690:
652:
605:
436:
392:
Work 1556â1988 established a parallel between the history of the construction of the
194:
under the âmuseological conceptionâ of Corina Matamoros, specialist from the Museum.
1384:
https://www.razon.com.mx/el-cultural/breve-historia-de-la-censura-en-cuba-1959-2016/
1382:. Rojas, Rafael. âBreve historia de la censura en Cuba (1959â2016)â at razon.com.mx
1250:
1214:
1042:
https://www.razon.com.mx/el-cultural/breve-historia-de-la-censura-en-cuba-1959-2016/
880:
240:
It is impossible to understand this project without an introduction to the context.
1737:
1367:
1317:
The Bohemia magazine of October 20, 1989 published an interview by Juan Sanchez to
1120:) was held in January 1988. Fidel closed the congress with the following statement
1009:
621:
432:
264:
100:
and local adaptations, Art market and notion of style, original and aura vs. copy.
1759:
Marisi, Luisa. "Nuevos curadores". El CaimĂĄn Barbudo magazine, April, Havana, 1990
1351:
La obra no basta: ensayos y comentarios sobre arte, cultura y sociedad cubana
824:
1789:
Alberto Korda's original photo shoot about his controversial photo of Che Guevara
1773:, vol. 29, no. 2, 2002, pp. 78â98. JSTOR (in English) Accessed 23 July 2020
1680:
Cameron, Dan. âCuba: Still Not Libreâ. Art & Auction, marzo, 1994, pp. 89, 90
1375:
1342:
1326:
625:
578:
was a work that would function as an "alternative" curatorial project within the
1799:
bill with the image of Che Guevara printed by the Banco Nacional de Cuba in 1983
1609:
Nosotros los mĂĄs infieles. Narraciones crĂticas sobre el arte cubano (1993â2005)
1595:
Nosotros los mĂĄs infieles. Narraciones crĂticas sobre el arte cubano (1993â2005)
1581:
Nosotros los mĂĄs infieles. Narraciones crĂticas sobre el arte cubano (1993â2005)
1567:
Nosotros los mĂĄs infieles. Narraciones crĂticas sobre el arte cubano (1993â2005)
1553:
Nosotros los mĂĄs infieles. Narraciones crĂticas sobre el arte cubano (1993â2005)
1539:
Nosotros los mĂĄs infieles. Narraciones crĂticas sobre el arte cubano (1993â2005)
1525:
Nosotros los mĂĄs infieles. Narraciones crĂticas sobre el arte cubano (1993â2005)
826:
Nosotros los mĂĄs infieles. Narraciones crĂticas sobre el arte cubano (1993â2005)
396:(Castle of The Real Force) in Havana and the history of the organization of the
1305:
1206:
1105:
1034:
were censored by the Consejo Nacional de Cultura (National Council of Culture)â
495:
480:
464:
415:, because his realistic work specializes in portraits of revolutionary heroes.
154:
150:
143:
128:
52:
1782:
1741:
1275:, President of the Councils of State and Ministers, defined Elmo HernĂĄndez as
300:
116:
48:
1807:
1749:
1713:
Murphy, Jay.â Testing the Limitsâ. Art in America, october, 1992, pp. 65â67.
1683:
Mosquera, Gerardo. Los hijos de Guillermo Tell, PoliĂ©ster, nÂș. 4, 1994, p. 23
1129:
927:
La obra no basta: ensayos y comentarios sobre arte, cultura y sociedad cubana
524:
32:
From left to right, José Toirac, Ileana Villazón and Juan Pablo Ballester in
1287:. Pedro de la Hoz, "Ludwig Foundation of Cuba: vanguard and participation",
1112:
pursued diametrically opposed objectives and highlighted the rupture of the
729:
51:(1966) and Ileana VillazĂłn (1969) by the Uruguayan artist and critic
1481:
1318:
1282:
1254:
1093:
1085:
1069:
609:
503:
440:
248:
929:(in Spanish). Venezuela: University of Carababo, Ediciones del Rectorado.
802:
764:
700:
662:
36:
piece, Homage to Hans Haacke, Castle of The Real Force, Havana, Cuba, 1989
1272:
1228:
1109:
1081:
1073:
982:, Ediciones Vanguardia Cubana, Habana 2012, Spanish, English, 253 pages.
554:
520:
291:
97:
527:
that became famous thanks to the editing and marketing of the publisher
374:" that occurred before the creation of the Ministry of Culture in 1976.
87:
The artist Ballester and VillazĂłn acted as curators of their exhibition
1455:
https://www.hypermediamagazine.com/sociedad/coco-fusco-ruido-erudicion/
1144:
476:
1770:
1694:
Cuba de vuelta. El presente y el futuro de los hijos de la RevoluciĂłn
545:
80:(He Who Imitates Fails) that they presented in 1988 at GalerĂa L in
455:
This work included a photocopy of the article by Jose MarĂa Juara "
251:
DĂĄvalos, Minister of Culture, published an article in the official
1124:, that same year the Ministry of Culture censored the exhibition
536:
411:
Orlando Yanes is a painter promoted as an official artist by the
1189:
After several setbacks in the rehabilitation of the castle, the
592:ÂĄJuntos y Adelante!. Arte, PolĂtica y Voluntad de representaciĂłn
179:
In 1990 ABTV received the Special Prize of the Cuban Section of
1461:
Artists in Purgatory. Cuban artists in the Reynardus Collection
950:
MarĂa Juara, JosĂ© (1988). "Hay razones para quemar un cuadro".
608:
cuban artists who in the 1970s went to study Art in the former
540:
532:
403:
124:
81:
472:
173:"Nosotros": ExposiciĂłn antolĂłgica de la obra de RaĂșl MartĂnez
1233:
the most relevant personalities of the plastic arts in Cuba
1101:
1089:
516:
1463:, Cuban Art Alliance (Florida) / ARTIUM Publishing 2017.
1277:âone of our most brilliant promoters and intellectualsâ
849:
469:
the artists who still collaborate with Castro's tyranny
435:
along with photographic documentation of a portrait of
791:. US: Austin: University of Texas Press. p. 254.
753:. US: Austin: University of Texas Press. p. 252.
689:. US: Austin: University of Texas Press. p. 188.
651:. US: Austin: University of Texas Press. p. 188.
822:
427:(Revolution Square) and included his quote of 1963: â
1490:. Minneapolis: University of Minnesota Press, 2011.
222:
Anthological Exhibition of the Work of RaĂșl MartĂnez
1640:
El Nuevo Arte Cubano: AntolĂłgica de textos crĂticos
829:(in Spanish). Spain: Murcia: CENDEAC. p. 113.
471:" and against the sale of Cuban Marxist culture in
200:For ABTV the National Museum presented the work of
1253:and Eduardo PonjuĂĄn that approached the figure of
908:"Breve historia de la censura en Cuba (1959â2016)"
728:(in Spanish). Supplement to the catalog Kuba o.k.
565:
1805:
377:
598:In 1991 ABTV regrouped for this final project.
1611: Spain, CENDEAC 2007. pp. 113, 114.
1583: Spain, CENDEAC 2007. pp. 109, 200.
346:". The need for dialogue and negotiation that
296:"political seriousness and professional rigor"
1555: Spain, CENDEAC 2007. p. 343, 200.
1118:National Union of Writers and Artists of Cuba
1108:, but the Rectification of errors policy and
726:Acciones de ToiracâTanya y BallesterâVillazĂłn
58:
1696:, Ed. Planeta Argentina, 1993, pp. 119â122.
1084:progressively undermined the ability of the
864:: CS1 maint: multiple names: authors list (
1638:Power, Kevin; Espinoza, Magaly (editores).
1308:), took advantage of the openness to exile.
1164:. Hart, Armando. âFreedom and disciplineâ,
949:
214:Museo Nacional de Bellas Artes de La Habana
188:Museo Nacional de Bellas Artes de La Habana
882:Censorship. A World Encyclopedy Volume 1-4
719:
717:
447:
1569: Spain, CENDEAC 2007. pp. 841.
1527: Spain, CENDEAC 2007. pp. 411.
784:
746:
682:
644:
498:as the victim and a banner of this policy
1597: Spain, CENDEAC 2007. p. 157.
1482:http://artjournal.collegeart.org/?p=5378
602:Por la plena igualdad. Juntos y adelante
319:exhibition was opened at the Stadtische
181:International Association of Art Critics
111:(ISA) (The University of Arts of Cuba),
27:
15:
1541: Spain, CENDEAC 2007. p. 62.
1488:To and from Utopia in the New Cuban Art
1335:Department of Revolutionary Orientation
1143:(Nine Alchemists and a Blind) by Grupo
1088:to fulfill its economic commitments to
723:
714:
121:Massachusetts College of Art and Design
72:and Ileana VillazĂłn used quotation and
1806:
1723:
1374:in 1966, the imprisonment of the poet
1325:In January 1990, the well-known actor
952:El Nuevo Herald Tuesday April 26, 1988
924:
515:, ABTV told the little-known story in
490:There are reasons to burn a serigraphy
486:Hay razones para quemar una serigrafĂa
905:
350:and the Ministry of Culture failed.
303:did not agree to release a note that
1642:. California: Perceval Press, 2006.
1430:
1409:
1400:
1388:
1356:
1311:
1297:
1267:President of the Council and artist
1260:
1238:
1220:
461:There are reasons to burn a painting
1814:Cuban artist groups and collectives
1783:Mendive Art Book: A delightful read
1736:(20). Informa UK Limited: 115â132.
1337:) and the Central Committee of the
823:Santana, Isaac Andrés, ed. (2007).
365:was closed after the censorship of
13:
1726:"The young and restless in Habana"
1362:The censorship of the documentary
1183:
1171:
1150:
582:and the Project itself. For ABTV "
370:reminiscent of the atmosphere of "
166:
14:
1840:
1763:
1062:
1046:
999:
964:
878:
457:Hay razones para quemar un cuadro
338:", but the unexpected closure of
1072:began the reform process called
1016:Military Units to Aid Production
531:. The Italian publisher visited
255:of the Central Committee of the
208:A few days after the closing of
186:From July to December 1988, the
1510:Censorship. A World Encyclopedy
1447:
943:
918:
899:
872:
843:
816:
421:Ministry of the Interior (Cuba)
107:In 1989, while studying at the
1440:, former member of Grupo ABTV.
1191:Proyecto Castillo de la Fuerza
980:RaĂșl MartĂnez: La Gran Familia
972:Raul Martinez: La Gran Familia
778:
740:
676:
638:
245:Proyecto Castillo de la Fuerza
1:
1211:Ana Albertina Delgado Ălvarez
475:. For his work ABTV bought a
439:from 1952 and another one of
286:repercussion in context. The
1141:Nueve alquimistas y un ciego
1080:, among other side effects,
507:(An Image Travels the World)
385:
183:(IAAC) for this exhibition.
7:
1795:First edition of the three
1269:MarĂa Magdalena Campos Pons
1195:Castle of The Force Project
1114:CubaâSoviet Union relations
1012:newspaper on July 3, 1988.
505:Una imagen recorre el mundo
398:Castle of The Force Project
363:Castle of The Force Project
348:Castle of The Force Project
272:Castle of The Force Project
10:
1845:
1819:Cuban contemporary artists
1168:, Thursday, July 21, 1988.
852:El CaimĂĄn Barbudo magazine
513:An Image Travels the World
394:Castillo de la Real Fuerza
294:, the parody and quote of
280:Castillo de la Real Fuerza
109:Instituto Superior de Arte
59:The beginning of the Group
1742:10.1080/09528829208576373
1459:Menéndez, Aldo (editor).
1438:Juan Ballester Carmenates
1249:(Melodramatic Artist) by
1213:, ABTV, Sandra Ceballos,
1203:Carlos RodrĂguez CĂĄrdenas
1134:Carlos RodrĂguez CĂĄrdenas
1038:Guillermo Cabrera Infante
724:SĂĄnchez, Osvaldo (1990).
305:Juan Ballester Carmenates
113:Juan Ballester Carmenates
70:Juan Ballester Carmenates
45:Juan Ballester Carmenates
1436:Information provided by
785:Camnitzer, Luis (2003).
747:Camnitzer, Luis (2003).
683:Camnitzer, Luis (2003).
645:Camnitzer, Luis (2003).
631:
1420:Communist Party of Cuba
1339:Communist Party of Cuba
1331:Communist Party of Cuba
925:Somoza, Alexis (1991).
551:Image Travels the World
529:Giangiacomo Feltrinelli
413:Communist Party of Cuba
405:La sonrisa de la verdad
261:Communist Party of Cuba
257:Communist Party of Cuba
1824:Censorship in the arts
1659:Camnitzer, Luis.
1028:RaĂșl MartĂnez (artist)
906:Rojas, Rafael (2017).
614:Pedro Ălvarez CastellĂł
425:Plaza de la RevoluciĂłn
353:For Osvaldo SĂĄnchez: "
234:Homenaje a Hans Haacke
227:RaĂșl MartĂnez (artist)
202:RaĂșl MartĂnez (artist)
192:RaĂșl MartĂnez (artist)
37:
25:
1247:Artista melodramĂĄtico
1057:Kunsthalle DĂŒsseldorf
734:Kunsthalle DĂŒsseldorf
618:Together and Forward!
580:Homage to Hans Haacke
519:of the photograph of
379:Homage to Hans Haacke
367:Homage to Hans Haacke
340:Homage to Hans Haacke
329:Homage to Hans Haacke
321:Kunsthalle DĂŒsseldorf
313:Homage to Hans Haacke
309:Homage to Hans Haacke
288:Homage to Hans Haacke
270:In this context, the
153:than as followers of
89:He Who Imitates Fails
31:
22:Homage to Hans Haacke
19:
1724:Murphy, Jay (1992).
1068:In 1985, the former
407:(The Smile of Truth)
133:After Sherrie Levine
78:El que imita fracasa
1508:Jones, Derek.
1291:, January 28, 2015
417:The Smile of Truth
225:collaboration with
74:Appropriation (art)
1289:Granma (newspaper)
1166:Granma (newspaper)
1137:Artista de calidad
1126:A Tarro partido II
1024:José Triana (poet)
325:The Smile of Truth
253:Granma (newspaper)
38:
34:The Smile of Truth
26:
1829:Art controversies
1669:978-0-292-70517-3
1617:978-84-96898-16-5
1603:978-84-96898-16-5
1589:978-84-96898-16-5
1575:978-84-96898-16-5
1561:978-84-96898-16-5
1547:978-84-96898-16-5
1533:978-84-96898-16-5
1504:978-0-8166-6514-3
1496:978-0-8166-6515-0
1098:Mikhail Gorbachev
1078:Mikhail Gorbachev
1032:Abelardo Estorino
836:978-84-96898-16-5
798:978-0-292-70517-3
760:978-0-292-70517-3
696:978-0-292-70517-3
658:978-0-292-70517-3
606:Socialist realism
437:Fulgencio Batista
1836:
1753:
1441:
1434:
1428:
1413:
1407:
1404:
1398:
1392:
1386:
1372:José Lezama Lima
1368:Paradiso (novel)
1360:
1354:
1315:
1309:
1301:
1295:
1264:
1258:
1242:
1236:
1224:
1218:
1187:
1181:
1175:
1169:
1154:
1148:
1066:
1060:
1050:
1044:
1010:Juventud Rebelde
1003:
997:
968:
956:
955:
947:
941:
940:
922:
916:
915:
903:
897:
896:
876:
870:
869:
863:
855:
847:
841:
840:
820:
814:
813:
811:
810:
801:. Archived from
782:
776:
775:
773:
772:
763:. Archived from
744:
738:
737:
721:
712:
711:
709:
708:
699:. Archived from
680:
674:
673:
671:
670:
661:. Archived from
642:
622:Cuban Revolution
433:Cuban Revolution
265:Contemporary art
1844:
1843:
1839:
1838:
1837:
1835:
1834:
1833:
1804:
1803:
1766:
1692:Gilbert, Abel.
1661:New Art of Cuba
1486:Weiss, Rachel.
1450:
1445:
1444:
1435:
1431:
1414:
1410:
1405:
1401:
1393:
1389:
1376:Heberto Padilla
1361:
1357:
1343:Sergio Corrieri
1327:Sergio Corrieri
1316:
1312:
1302:
1298:
1279:, Elmo in turn
1265:
1261:
1243:
1239:
1225:
1221:
1188:
1184:
1176:
1172:
1155:
1151:
1067:
1063:
1051:
1047:
1020:Virgilio Piñera
1004:
1000:
969:
965:
960:
959:
948:
944:
937:
923:
919:
904:
900:
893:
877:
873:
857:
856:
848:
844:
837:
821:
817:
808:
806:
799:
788:New Art of Cuba
783:
779:
770:
768:
761:
750:New Art of Cuba
745:
741:
722:
715:
706:
704:
697:
686:New Art of Cuba
681:
677:
668:
666:
659:
648:New Art of Cuba
643:
639:
634:
626:Havana Biennial
596:
571:
567:Notas de Glexis
509:
453:
409:
390:
383:
238:
177:
169:
167:ABTVâs Projects
61:
12:
11:
5:
1842:
1832:
1831:
1826:
1821:
1816:
1802:
1801:
1792:
1786:
1780:
1774:
1765:
1764:External links
1762:
1761:
1760:
1757:
1754:
1721:
1711:
1709:978-9507423512
1690:
1687:
1684:
1681:
1678:
1675:
1672:
1657:
1655:978-0976300946
1636:
1634:978-0816644629
1619:
1605:
1591:
1577:
1563:
1549:
1535:
1521:
1506:
1484:
1478:
1476:978-0692852576
1457:
1449:
1446:
1443:
1442:
1429:
1408:
1399:
1387:
1355:
1310:
1306:Special Period
1296:
1259:
1251:René Francisco
1237:
1219:
1215:René Francisco
1207:Adriano Buergo
1182:
1170:
1149:
1106:Eastern Europe
1061:
1045:
998:
995:978-8493604776
962:
961:
958:
957:
942:
935:
917:
898:
891:
879:Jones, Derek.
871:
842:
835:
815:
797:
777:
759:
739:
713:
695:
675:
657:
636:
635:
633:
630:
595:
589:
570:
569:(Glexis Notes)
564:
508:
502:
496:Manuel Mendive
481:Manuel Mendive
465:Manuel Mendive
452:
446:
408:
402:
389:
384:
382:
376:
315:. In 1990 the
237:
231:
176:
170:
168:
165:
155:Sherrie Levine
151:Group Material
144:Luis Camnitzer
129:Sherrie Levine
60:
57:
53:Luis Camnitzer
9:
6:
4:
3:
2:
1841:
1830:
1827:
1825:
1822:
1820:
1817:
1815:
1812:
1811:
1809:
1800:
1798:
1793:
1791:wikimedia.org
1790:
1787:
1784:
1781:
1778:
1775:
1772:
1768:
1767:
1758:
1755:
1751:
1747:
1743:
1739:
1735:
1731:
1727:
1722:
1720:
1716:
1712:
1710:
1706:
1703:
1699:
1695:
1691:
1688:
1685:
1682:
1679:
1676:
1673:
1670:
1666:
1662:
1658:
1656:
1652:
1649:
1645:
1641:
1637:
1635:
1631:
1628:
1624:
1620:
1618:
1614:
1610:
1606:
1604:
1600:
1596:
1592:
1590:
1586:
1582:
1578:
1576:
1572:
1568:
1564:
1562:
1558:
1554:
1550:
1548:
1544:
1540:
1536:
1534:
1530:
1526:
1522:
1519:
1518:9780203827055
1515:
1511:
1507:
1505:
1501:
1497:
1493:
1489:
1485:
1483:
1479:
1477:
1473:
1470:
1466:
1462:
1458:
1456:
1452:
1451:
1439:
1433:
1427:
1423:
1421:
1412:
1403:
1396:
1391:
1385:
1381:
1377:
1373:
1369:
1365:
1359:
1352:
1348:
1344:
1340:
1336:
1332:
1328:
1324:
1320:
1314:
1307:
1300:
1294:
1290:
1286:
1284:
1278:
1274:
1270:
1263:
1256:
1252:
1248:
1241:
1234:
1230:
1223:
1216:
1212:
1208:
1204:
1200:
1196:
1192:
1186:
1179:
1174:
1167:
1163:
1159:
1153:
1146:
1142:
1138:
1135:
1131:
1130:Arnaldo Ochoa
1127:
1123:
1119:
1115:
1111:
1107:
1103:
1099:
1095:
1091:
1087:
1083:
1079:
1075:
1071:
1065:
1058:
1054:
1049:
1043:
1039:
1035:
1033:
1029:
1025:
1021:
1017:
1011:
1007:
1002:
996:
992:
989:
985:
981:
977:
973:
967:
963:
953:
946:
938:
932:
928:
921:
913:
909:
902:
894:
892:9780203827055
888:
884:
883:
875:
867:
861:
853:
846:
838:
832:
828:
827:
819:
805:on 2020-06-29
804:
800:
794:
790:
789:
781:
767:on 2020-06-29
766:
762:
756:
752:
751:
743:
735:
732:: StÀdtische
731:
727:
720:
718:
703:on 2020-06-29
702:
698:
692:
688:
687:
679:
665:on 2020-06-29
664:
660:
654:
650:
649:
641:
637:
629:
627:
623:
619:
615:
611:
607:
603:
599:
593:
588:
586:
581:
577:
568:
563:
560:
556:
552:
547:
542:
538:
534:
530:
526:
525:Alberto Korda
522:
518:
514:
506:
501:
499:
497:
491:
487:
482:
478:
474:
470:
466:
462:
458:
451:(The Phoenix)
450:
445:
442:
438:
434:
430:
426:
422:
418:
414:
406:
401:
399:
395:
388:
380:
375:
373:
372:dark episodes
368:
364:
359:
357:
351:
349:
345:
341:
337:
332:
330:
326:
322:
318:
314:
310:
306:
302:
297:
293:
289:
283:
281:
277:
273:
268:
266:
262:
258:
254:
250:
246:
241:
235:
230:
228:
223:
219:
215:
211:
206:
203:
198:
195:
193:
189:
184:
182:
174:
164:
162:
157:
156:
152:
145:
140:
136:
134:
130:
126:
122:
118:
114:
110:
105:
101:
99:
95:
90:
85:
83:
79:
75:
71:
67:
56:
54:
50:
47:(1966),
46:
42:
35:
30:
23:
18:
1796:
1733:
1729:
1693:
1660:
1639:
1608:
1594:
1580:
1566:
1552:
1538:
1524:
1509:
1487:
1460:
1448:Bibliography
1432:
1416:
1411:
1402:
1394:
1390:
1379:
1363:
1358:
1350:
1346:
1322:
1319:Armando Hart
1313:
1299:
1283:Armando Hart
1280:
1276:
1262:
1255:Fidel Castro
1246:
1240:
1232:
1222:
1198:
1194:
1190:
1185:
1177:
1173:
1161:
1157:
1152:
1140:
1136:
1125:
1121:
1094:Fidel Castro
1086:Soviet Union
1070:Soviet Union
1064:
1052:
1048:
1013:
1005:
1001:
979:
971:
966:
951:
945:
926:
920:
911:
901:
881:
874:
860:cite journal
851:
845:
825:
818:
807:. Retrieved
803:the original
787:
780:
769:. Retrieved
765:the original
749:
742:
725:
705:. Retrieved
701:the original
685:
678:
667:. Retrieved
663:the original
647:
640:
617:
610:Soviet Union
601:
600:
597:
591:
583:
579:
576:Glexis Notes
575:
572:
566:
558:
550:
512:
510:
504:
493:
489:
485:
468:
460:
456:
454:
448:
441:Fidel Castro
428:
416:
410:
404:
397:
391:
386:
378:
371:
366:
362:
360:
354:
352:
347:
343:
339:
335:
333:
328:
324:
316:
312:
308:
295:
287:
284:
275:
271:
269:
249:Armando Hart
244:
242:
239:
233:
221:
217:
212:(We) at the
209:
207:
199:
196:
185:
178:
172:
159:
147:
141:
137:
132:
106:
102:
93:
88:
86:
77:
64:
62:
40:
39:
33:
21:
1273:Abel Prieto
1229:Wifredo Lam
1110:Perestroika
1082:Perestroika
1074:Perestroika
854:. November.
555:Che Guevara
521:Che Guevara
301:José Toirac
292:Hans Haacke
117:José Toirac
98:Avant-garde
49:José Toirac
20:Grupo ABTV
1808:Categories
1730:Third Text
1702:9507423516
1648:097630094X
1627:0816644624
1469:0692852573
1345:declared:
1145:Arte Calle
1092:. In 1986
988:8493604771
936:9802330639
809:2020-07-21
771:2020-07-21
730:DĂŒsseldorf
707:2020-07-21
669:2020-07-21
477:serigraphy
41:Grupo ABTV
1750:0952-8822
1719:0004-3214
546:Copyright
523:taken by
449:Ave FĂ©nix
423:) in the
387:1556â1988
317:Kuba o.k.
1160:â thus,
1100:visited
912:La RazĂłn
539:and the
381:âs works
210:Nosotros
1076:led by
1059:, 1990.
537:Bolivia
1748:
1717:
1707:
1700:
1667:
1653:
1646:
1632:
1625:
1615:
1601:
1587:
1573:
1559:
1545:
1531:
1516:
1502:
1498:cloth
1494:
1474:
1467:
993:
986:
933:
889:
833:
795:
757:
693:
655:
541:Poster
533:Havana
125:Boston
82:Havana
1797:Pesos
632:Notes
559:Pesos
473:Miami
1746:ISSN
1715:ISSN
1705:ISBN
1698:ISBN
1665:ISBN
1651:ISBN
1644:ISBN
1630:ISBN
1623:ISBN
1613:ISBN
1599:ISBN
1585:ISBN
1571:ISBN
1557:ISBN
1543:ISBN
1529:ISBN
1514:ISBN
1500:ISBN
1492:ISBN
1472:ISBN
1465:ISBN
1102:Cuba
1090:Cuba
991:ISBN
984:ISBN
931:ISBN
887:ISBN
866:link
831:ISBN
793:ISBN
755:ISBN
691:ISBN
653:ISBN
517:Cuba
361:The
243:The
158:(âŠ)
142:For
1738:doi
1424:."
1370:by
1364:P.M
587:".
511:In
500:â.
488:â (
479:by
459:â (
358:â.
220:":
123:in
68:â.
1810::
1744:.
1732:.
1728:.
1341:.
1209:,
1205:,
1036:.
1022:,
978:]
910:.
862:}}
858:{{
716:^
616:.
267:.
218:We
163:.
135:.
115:,
84:.
55:.
1752:.
1740::
1734:6
1671:.
1520:.
1418:(
1415:"
1353:.
1193:(
954:.
939:.
914:.
895:.
868:)
839:.
812:.
774:.
736:.
710:.
672:.
484:â
146:â
92:â
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.