Contemporary art from Cuba : irony and survival on the utopian island Arte contemporáneo de Cuba : ironía y sobrevivencia en la isla utópica redactora, Marilyn A. Zeitlin ; textos de Gerardo Mosquera, Tonel (Antonio Eligio Fernández), Marilyn A. Zeitlin
著者
書誌事項
Contemporary art from Cuba : irony and survival on the utopian island = Arte contemporáneo de Cuba : ironía y sobrevivencia en la isla utópica
Arizona State University Art Museum : Delano Greenidge Editions, c1999
大学図書館所蔵 全2件
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
  栃木
  群馬
  埼玉
  千葉
  東京
  神奈川
  新潟
  富山
  石川
  福井
  山梨
  長野
  岐阜
  静岡
  愛知
  三重
  滋賀
  京都
  大阪
  兵庫
  奈良
  和歌山
  鳥取
  島根
  岡山
  広島
  山口
  徳島
  香川
  愛媛
  高知
  福岡
  佐賀
  長崎
  熊本
  大分
  宮崎
  鹿児島
  沖縄
  韓国
  中国
  タイ
  イギリス
  ドイツ
  スイス
  フランス
  ベルギー
  オランダ
  スウェーデン
  ノルウェー
  アメリカ
注記
Exhibition catalogue
Published in conjunction with an exhibition held at the Arizona State University Art Museum, Sept. 26-Dec. 13, 1998 ; Center for the Arts at Yerba Buena Gardens, San Francisco, Jan. 15- May. 2, 1999 ; Cranbrook Art Museum, Bloomfield Hills, Michigan, June 5- Aug. 15, 1999 and five other locations
Organized by Arizona State University Art Museum
Exhibitors: Pedro Álvarez, Belkis Ayón, Abel Barroso ... [et al.]
Includes bibliographical references (p. 160-162)
内容説明・目次
内容説明
The poetic birth of Cuba, and of the character of its culture, might be found in a phrase placed in the mouth of an aborigine of the island and included in a book by the Cuban writers Cintio Vitier and Fina Garcia Marruz, who traced and assembled such outbursts of inadvertent poetry. As is well known, the Spaniards arrived in America by way of the Antilles, which have always formed a sort of aquatic frontier of the continent. In addition to a thirst for gold, the peculiar geography of the area awakened another obsession in Christopher Columbus and his followers that was to last for years: to know if the landscape they were seeing was an island or terra firma. Cuba's elongated shape and its relatively considerable size tended to disorient them. An obscure historian of the nineteenth century, the priest of the Cuban village of Los Palacios, tells us that when Columbus asked the natives of Cuba if the place was island or continent, they answered him that it was "an infinite land of which no one had ever seen the end, although it was an island". Cuba was thus born for the West as quandary, aporia, bluff. In addition, it was to impose the mystery of its aboriginal name over the almost kitschy name Juana, given by the Europeans. The paradox of an infinite island remains as an image of the hyperbolical destiny of Cuba, always out of proportion in comparison to its material bases. Perhaps it is als worthwhile to stress that peculiar and fluid juncture between an insularity that always looks within ("the cursed circumstance of water everywhere", as another writer said) and an opening toward the universal characteristic of Cuban art and culture.
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