2023-11-24 23:55:01
“A hand that is closed in the shape of a fist can give the dimensions of the owner’s heart, it offers whoever observes multiple revelations, and if they are hands that seem to have a life of their own like Fidel’s, then they are like crystalline maps of the soul.”
For the journalist Alina Perera, the mystery of this cartography is in the hands of the Commander: “open and extended to countless human beings…hands that knew how to rest with special tenderness on the head of a child…hands that accommodated microphones in unforgettable speeches, which “They knew and touched the owner’s cheeks in a unique gesture.”
As part of a possible summary, one could say “exemplary hands,” a phrase that also names the photographic exhibition inaugurated at the headquarters of the Union of Journalists of Cuba (UPEC) on the morning of this November 24.
The photographic exhibition Hands example, inaugurated in August of this year at the José Martí Memorial, was resumed this Friday, November 24 at the Casa de la Prensa
The tribute—just one day after the seventh anniversary of the death of the historical leader—presents twenty photographs by artists Alberto Korda, Raúl Corrales, Osvaldo Salas, Roberto Salas, Liborio Noval, Raúl Abreu, Ismael Francisco, Roberto Chile and Alex Castro who captured moments in Fidel’s life in which his expressive hands converse with the world and change it forever; sometimes from action, other times from restless silence.
“Guayasamín,” Alina added, at the presentation of the expo, “could not resist and recreated them with her brush. “She gave Fidel’s hands a life of their own, as if they were two autonomous creatures, who together worked the wonder of expressing all types of feelings.”
Fidel next to the last oil portrait dedicated to him by the Ecuadorian painter Oswaldo Guayasamín. Photo taken from El Comercio
The exhibition, curated by Enith Alerm, director of the José Martí Memorial, and Roberto Chile, narrates Fidel’s struggle from the first years of the Revolution with the authenticity of other details: “hands with an accusing finger that served to point paths and that knew how to serve as a visor so that their owner could see better into the distance, scan more human and emancipatory horizons (…) hands that helped build a country, that put that country on the map of the world.”
During the inauguration, the audiovisual “Fidel and the journalists” was presented, a production by the Fidel Castro Center that shows the leader’s close relationship with Cuban journalists.
To tell the truth—Alina concluded—Fidel’s closed hand in the shape of a fist would never have given the measurements of his heart; because his humanist heart—no doubt—was unfathomable, without any limits or parallels.
Cover photo: Hug. Roberto Chile (2012).
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