2023-08-14 17:47:12
Showing solidarity, empathy, and complicity with Cuba —a nation that has resisted for more than six decades demonized sanctions implemented by successive administrations of the United States government— has consequences.
Those who insist on moving through the channels of commitment to Cuba will be located on the margins of ostracism, in the curves of a calculated silence articulated to the millimeter. There will be an escalation of rude adjectives or a battery of destructive insults typical of reactionary behavior.
The movements, beyond their borders, of those who cultivate the sun of our truths —often decaffeinated— will be curtailed by administrative documents torn by the technocracy, which “defends freedom of expression and the right to circulate anywhere in the world ”. Stepping on Cuban soil today is cursed by the draconian spirit of the jailers of global geography.
The upright word scares the demons of officials on duty. The virile response is established, as unbreakable sums of actions, by hardened men and women who despise and challenge the power of “annihilating spears.” With sublime acts they unlock obstacles and shed light on the virtue of decorum.
Many of these metaphors are housed in the exhibition Chromatic Denunciation from a Legacy, which this Friday, August 11, opened the gallery El Reino de este Mundo, of the José Martí National Library. In the room, the assertions and questions of the Chilean plastic artist Carol Martínez Jiménez are shown, resolved with canvases of disparate philosophical readings.
The evolution of his curatorship, dedicated to Cuban youth, is another complicit act, an exercise of citizen will that breaks with the idea of isolating them. In the prologue to his inaugural words, the Chilean artist reminded us of that forceful speech, known as The Great Task, delivered by Salvador Allende on November 5, 1970, at the National Stadium, upon taking office:
You are at the beautiful age when physical and mental vigor make practically any undertaking possible. That is why they have the duty to give impetus to our progress. Turn the longing into more work. Turn hope into more effort. Turn impulse into concrete reality[i].
As a crossroads of enriched words, after some organic reflections Carol Martínez appropriates Fidel’s words to place us in the plains that support his Chromatic Denunciation:
A few minutes ago, before beginning the final part of this event, a colleague said: Look, Cuba has done things! When one hears visitors from one country and another; When they talk about doctors, when they talk about scholarship holders, about people who were trained here, from one activity, from another and from another, one realizes that in these years our country has accomplished many things. It is that for us solidarity and internationalism is a principle, and a sacred principle(ii).
After concluding his sharp speeches, coherence is revealed to us, the act of solidarity expressed with the pieces that are exhibited in the gallery of the José Martí National Library materializes. It turns out, from an articulated curatorship of transits and obligatory stops, a whole sum of figurations, of discursive allegories, of signs arranged by the forms of veiled colors, also lit, where the lines are appreciated as planes of a script devised to build the grooves. of our imaginaries.
In many of them words full of philosophies are written down, riddles that reveal the challenges and paths to follow where history is part of the discourse. Responses from the artist, which connect as confessions of a world, increasingly populated with interpellations.
The inks and watercolors qualify the exercises of his creations. They are shown as unfinished stories or creative processes in development. It is the declared commitment to the search for perfection, for the legitimate act of recycling an idea that is still alive.
Movement is everything in Chromatic Complaint from a Legacy. That coming and going of symbols, stripped of heavy baroque styles, surrounds the discursive logic of the Chilean author, willing to put us in dialogue with the challenges of his words and the responses of pictorial plots.
History matters to Carol Martínez, but not history as a passive text, as a sheet painted with dust. This logarithm can be seen in the performativity of the canvas-text. It is that flat narrative that she draws in other dimensions of her pieces, to decipher processes in permanent development where memory, the past, has to be located, in a hierarchy, in the entire arsenal of our lives.
Those who spend the night in his notes are not perfectly delineated characters. The way in which he has composed them gives him a sense of universality, of polychromy of a time —that of the dialogue with the painting— in a tone of the present.
The use of bright colors, the energy to unleash plural chromatic responses, captivate readers, who blend in with the writing of the “Wonderful Real”, with the magical realism sketched by Alejo Carpentier in his novel El reino de este mundo.
Carol Martínez paints discursive praise for those who inhabit anonymously on this Island of saltpeter and incorruptible sun. In her narrative, she places resolved truths with fiery aesthetics, arranged as traces of a proven economy; on the edges, outstanding, in the center, the allegories of her speeches.
His work is also composed as sums of small frames. They are figurative fables that presume in all their arithmetic to support significant units and dialogues with adjectives. Each piece adsorbs these finished ligaments as chromatic multitudes of variable structures.
This plurality reveals the richness of his aesthetic exercises arranged as signs that emerge in support of that, already commented, philosophy that surrounds his inaugural words. It is the coherence of the artist, from the choral writing, for the defense of values, marked by history.
The conquests of our Revolution are sketched in the exercises of its sheets. The international solidarity practiced by the Cuban people is also part of the narrative that covers the symbols of entire scenes.
It is not dramaturgy to use or theater of physiognomic colors. It is about painting the truth of his time, which is ours. This essential chapter is arranged in the ardor of dedication, given by Carol Martínez to move beyond the horizons of this house-temple.
The dialogue with the readers of the gallery El reino de este mundo occurs in parts, or in complete euphonies. Each one notices the alerts and dreams that invade the supportive artist. Appropriation emerges, the crossing of words. The soliloquies are subverted to ponder the arithmetic of the encounter with the fan that makes up Chromatic Denunciation of a Legacy.
In the end, the challenge is greater: to place its bewitched sheets in the symbolic heart of Havana, where Words to the Intellectuals is the essence of our cultural policy. Carol Martinez, your die is cast. Thank you for that great act.
Grades
[i] Allende, Salvador. The great task. (Speech)
[ii] Speech given by Commander in Chief Fidel Castro Ruz at the closing of the World Solidarity Meeting with Cuba, held at the “Karl Marx” theater, on November 25, 1994.
Taken from Cinereverso
#philosophical #chromaticisms #Carol #Martínez