Por tumiamiblog
Blogolandia: perdonen la tardanza. Aún sin compu, haciendo el trabajo desde la universidad. Me llama la atención hoy esta noticia sobre los llamados evangelios apócrifos. Lo que está en juego es una batalla que define dos corrientes: una apócrifa y la reconocida posición de Pedro y Pablo (yo diría mas el segundo que el primero). Tratándose de la María Magdalena, me siento aliado. Dejemos a un lado la llamada "fidelidad histórica del evangelio". Los libros se fabrican con una voluntad de edición y alianzas políticas. Lo importante es que la cosmovisión gnóstica de la Magdalena conecta el pecado con la ignorancia cognitiva; Pablo lo fundamenta con la fe (la cual define como “la certeza en aquello que sin verse se cree”). El apóstol le apuesta a una ignorancia “nata”, consustancial con la esencia del ser: “nacemos pecadores”. Magadalena hace de la ignorancia un defecto de la volición del ser humano y acaso sin saberlo defendía un planteamiento científico de la vieja escuela ateniense. Luego, si el pecado es producto de un defecto epistémico, entonces puede superarse con un cambio de procedimiento (algo que nos recuerda Descartes siglos después en su Discurso). Lamentablemente, tardó mucho en comprenderse que la puta tenía razón.
34 comentarios:
Buen punto JR, y es que Inkie es un poco dadaista... (:
Me cuadra MM!
The Mary Magdalene we speak of, was a prostitute? The one in the allegory of the bible?
Some notes on the subject;
Mary Magdalen was so called either from Magdala near Tiberias, on the west shore of Galilee, or possibly from a Talmudic expression meaning "curling women's hair," which the Talmud explains as of an adulteress.
In the New Testament she is mentioned among the women who accompanied Christ and ministered to Him (Luke 8:2-3), where it is also said that seven devils had been cast out of her (Mark 16:9). She is next named as standing at the foot of the cross (Mark 15:40; Matthew 27:56; John 19:25; Luke 23:49). She saw Christ laid in the tomb, and she was the first recorded witness of the Resurrection.
The Greek Fathers, as a whole, distinguish the three persons:
the "sinner" of Luke 7:36-50;
the sister of Martha and Lazarus, Luke 10:38-42 and John 11; and
Mary Magdalen.
On the other hand most of the Latins hold that these three were one and the same. Protestant critics, however, believe there were two, if not three, distinct persons. It is impossible to demonstrate the identity of the three; but those commentators undoubtedly go too far who assert, as does Westcott (on John 11:1), "that the identity of Mary with Mary Magdalene is a mere conjecture supported by no direct evidence, and opposed to the general tenour of the gospels." It is the identification of Mary of Bethany with the "sinner" of Luke 7:37, which is most combatted by Protestants. It almost seems as if this reluctance to identify the "sinner" with the sister of Martha were due to a failure to grasp the full significance of the forgiveness of sin. The harmonizing tendencies of so many modern critics, too, are responsible for much of the existing confusion.
The first fact, mentioned in the Gospel relating to the question under discussion is the anointing of Christ's feet by a woman, a "sinner" in the city (Luke 7:37-50). This belongs to the Galilean ministry, it precedes the miracle of the feeding of the five thousand and the third Passover. Immediately afterwards St. Luke describes a missionary circuit in Galilee and tells us of the women who ministered to Christ, among them being "Mary who is called Magdalen, out of whom seven devils were gone forth" (Luke 8:2); but he does not tell us that she is to be identified with the "sinner" of the previous chapter. In 10:38-42, he tells us of Christ's visit to Martha and Mary "in a certain town"; it is impossible to identify this town, but it is clear from 9:53, that Christ had definitively left Galilee, and it is quite possible that this "town" was Bethany. This seems confirmed by the preceding parable of the good Samaritan, which must almost certainly have been spoken on the road between Jericho and Jerusalem. But here again we note that there is no suggestion of an identification of the three persons (the "sinner", Mary Magdalen, and Mary of Bethany), and if we had only St. Luke to guide us we should certainly have no grounds for so identifying them. St. John, however, clearly identifies Mary of Bethany with the woman who anointed Christ's feet (12; cf. Matthew 26 and Mark 14). It is remarkable that already in 11:2, St. John has spoken of Mary as "she that anointed the Lord's feet", he aleipsasa; It is commonly said that he refers to the subsequent anointing which he himself describes in 12:3-8; but it may be questioned whether he would have used he aleipsasa if another woman, and she a "sinner" in the city, had done the same. It is conceivable that St. John, just because he is writing so long after the event and at a time when Mary was dead, wishes to point out to us that she was really the same as the "sinner." In the same way St. Luke may have veiled her identity precisely because he did not wish to defame one who was yet living; he certainly does something similar in the case of St. Matthew whose identity with Levi the publican (5:7) he conceals.
If the foregoing argument holds good, Mary of Bethany and the "sinner" are one and the same. But an examination of St. John's Gospel makes it almost impossible to deny the identity of Mary of Bethany with Mary Magdalen. From St. John we learn the name of the "woman" who anointed Christ's feet previous to the last supper. We may remark here that it seems unnecessary to hold that because St. Matthew and St. Mark say "two days before the Passover", while St. John says "six days" there were, therefore, two distinct anointings following one another. St. John does not necessarily mean that the supper and the anointing took place six days before, but only that Christ came to Bethany six days before the Passover. At that supper, then, Mary received the glorious encomium, "she hath wrought a good work upon Me . . . in pouring this ointment upon My body she hath done it for My burial . . . wheresoever this Gospel shall be preached . . . that also which she hath done shall be told for a memory of her." Is it credible, in view of all this, that this Mary should have no place at the foot of the cross, nor at the tomb of Christ? Yet it is Mary Magdalen who, according to all the Evangelists, stood at the foot of the cross and assisted at the entombment and was the first recorded witness of the Resurrection. And while St. John calls her "Mary Magdalen" in 19:25, 20:1, and 20:18, he calls her simply "Mary" in 20:11 and 20:16.
In the view we have advocated the series of events forms a consistent whole; the "sinner" comes early in the ministry to seek for pardon; she is described immediately afterwards as Mary Magdalen "out of whom seven devils were gone forth"; shortly after, we find her "sitting at the Lord's feet and hearing His words." To the Catholic mind it all seems fitting and natural. At a later period Mary and Martha turn to "the Christ, the Son of the Living God", and He restores to them their brother Lazarus; a short time afterwards they make Him a supper and Mary once more repeats the act she had performed when a penitent. At the Passion she stands near by; she sees Him laid in the tomb; and she is the first witness of His Resurrection--excepting always His Mother, to whom He must needs have appeared first, though the New Testament is silent on this point. In our view, then, there were two anointings of Christ's feet--it should surely be no difficulty that St. Matthew and St. Mark speak of His head--the first (Luke 7) took place at a comparatively early date; the second, two days before the last Passover. But it was one and the same woman who performed this pious act on each occasion.
Subsequent history of St. Mary Magdalen. The Greek Church maintains that the saint retired to Ephesus with the Blessed Virgin and there died, that her relics were transferred to Constantinople in 886 and are there preserved. Gregory of Tours (De miraculis, I, xxx) supports the statement that she went to Ephesus. However, according to a French tradition (see SAINT LAZARUS OF BETHANY), Mary, Lazarus, and some companions came to Marseilles and converted the whole of Provence. Magdalen is said to have retired to a hill, La Sainte-Baume, near by, where she gave herself up to a life of penance for thirty years. When the time of her death arrived she was carried by angels to Aix and into the oratory of St. Maximinus, where she received the viaticum; her body was then laid in an oratory constructed by St. Maximinus at Villa Lata, afterwards called St. Maximin. History is silent about these relics till 745, when according to the chronicler Sigebert, they were removed to Vézelay through fear of the Saracens. No record is preserved of their return, but in 1279, when Charles II, King of Naples, erected a convent at La Sainte-Baume for the Dominicans, the shrine was found intact, with an inscription stating why they were hidden. In 1600 the relics were placed in a sarcophagus sent by Clement VIII, the head being placed in a separate vessel. In 1814 the church of La Sainte-Baume, wrecked during the Revolution, was restored, and in 1822 the grotto was consecrated afresh. The head of the saint now lies there, where it has lain so long, and where it has been the centre of so many pilgrimages.
LA CLASE HA TERMINADO POR HOY, OREMOS, PUEDEN IRSE EN PAZ MIS HIJOS,
LA MANO PODEROSISIMA
Mas vale decir que fue anulada, Mano, puta o no. Encuentro el gnosticismo de Magdalena mas util que el fideismo de Pablo. Prefiero la razon a la fe ya que no hay fe sin razon.
Lo ultimo que supe de Amilcar es que habia tratado de registrarse por dos horas sin lograrlo. Lo imagino, encima de su elefante, portando lanza y escudo, guiando a sus tropas a la victoria.
Amilcar donde esta? En estos dias Navideños, es bueno tener unidad en blogolandia. Triff, si te encuentras con el, mandale un fuerte abrazo de mi parte. Sobre Maria Magdalena, comparto con tu analisis, The Gospel according to Mary...
Hola a todos. JR, Simanca es mi ambia. Lo inclui entre los desconocidos como jodedera-homenaje, solo para recordarlo. Hace poco le mande a Salvador da Bahia, donde vive, a Basil Falcon, nuestro hombre en South Beach. Atendio a mi amigo americano como a un hermano de toda la vida. Dice Falcon que es como el alcalde del Pelourinho, pues donde quiera que va, todos lo conocen y lo saludan. Por pelear injustamente con Simanca me botaron a mi de San Alejandro en 1974. Luego, cuando gane mi reingreso, se convirtio en un gran amigo. Para mi es uno de los grandes caricaturistas e ilustradores de prensa de Cuba.
Perdonen que ignore o no opine nada sobre ese tema religioso o teologico, pero es que no se nada de eso.
CARLOS RAFAEL URIBAZO GARRIDO.
Firma Artística: URIBAZO.
Dirección: C/ Azorín nº 2.
28978 Cubas de la Sagra. Madrid.
Telf: 34 - 661844153 - 661844154
http://www.arturibazo.com/1ABU_nes.html
Lo conoci de fuerafuera. El es mayor que yo. Tengo 45 anos y me gradue de escuela media en el 78, superior en el 83. Cronologicamente soy mas de los ochenta. Uribazo es de la vieja dinastia del taller de la plaza: Orozco, Paneca, Chocolate, Zarza, El difunto Pollo Triana, etc.
Angel Alfaro Echevarría
Yaguajay, Cuba, 1952
Actualmente vive y trabaja en Bogotá, Colombia
www.angelalfaro.com
Amelia Pelaez tambien nacio en Yaguajay, pueblo de mis padres y mis abuelos.
Martha and Mary Magdalene (Caravaggio)
Martha and Mary Magdalene
Caravaggio, c. 1598
Oil on canvas, 100 × 134,5 cm
Detroit Institute of Art
Martha and Mary Magdalene (c. 1598) is a painting by the Italian Baroque master Michelangelo Merisi da Caravaggio (1571-1610). It is held in the Detroit Institute of Art.
The painting shows the Biblical sisters Martha and Mary Magdalene - Martha is in the act of converting Mary from her life of pleasure to the life of virtue in Christ. Martha, her face shadowed, leans forward, passionately arguing with Mary, who twirls an orange blossom between her fingers as she holds a mirror, symbolising the vanity she is about to give up. The power of the image lies in Mary's face, caught at the moment when conversion begins.
Martha and Mary was painted while Caravaggio was living in the palazzo of his patron, Cardinal Francesco Maria Del Monte. He paintings for Del Monte fall into two groups: the secular genre pieces such as The Musicians, The Lute Player, and Bacchus - all featuring boys and youths in somewhat claustophobic interior scenes - and religious images such as Rest on the Flight into Egypt and Ecstasy of Saint Francis. Among the religious paintings was a group of four works featuring the same two female models, together or singly. The models were two well-known courtesans who frequented the palazzi of Del Monte and other wealthy and powerful art patrons, and their names were Anna Bianchini and Fillide Melandroni. Anna Bianchini appeared first as a solitary Mary Magdalene in the Penitent Magdalene of about 1597. Fillide Melandroni appeared in a secular Portrait of a Courtesan done the same year for Del Monte's friend and fellow art-lover, the banker Vincenzo Giustiniani. In 1598 Caravaggio painted Fillide again as Saint Catherine, capturing a beauty full of intelligence and spirit. In Martha and Mary the two are shown together, Fillide perfectly fitted to the role of Mary, Anna to the mousier but insistent presence as Martha.
Mary Magdalen in Penitence
1576-78
Oil on canvas, 157 x 121 cm
Museum of Fine Arts, Budapest
After a short period of study in Greece, El Greco, one of the most renowned figure in Spanish art, went to Venice in the middle of the sixteenth century, where he worked in Titian's workshop, and where he became familiar with the art of Paolo Veronese, Jacopo Bassano and Tintoretto, as well as works by representatives of the North Italian Mannerist school. Later, in Rome, he was strongly influenced by the work of Michelangelo. By the time he had settled in Toledo around 1576, his art was fully developed. Like most of the painters coming from Italy, he was anxious to enter the service of King Philip II, but the Greek painter's immediacy of passion, ecstatic style, disturbing colours and visionary conceptions did not please the king's academic Italian taste. He was, however, appreciated by the religious orders and the aristocratic patrons of Toledo.
The penitent Magdalen must have been painted at the beginning of his years in Toledo because the strong influence of paintings on the same theme by Titian can be observed. The ideal of beauty is still Titian's half-figure pictures of women, but the inner tension of the whole composition and the relation between man and nature already indicate the beginning of Mannerism. The arrangement of the fingers of the right hand is a characteristic feature of El Greco's painting. It is assumed by some critics that the sitter of the painting was Jerónima de las Cuevas, the mistress of the artist.
Titian
Noli Me Tangere
1511-12
Oil on canvas
101 x 91 cm
National Gallery, London
When the young Titian painted the appearance of the resurrected Christ to Mary Magdalen, loosely based on the scene recounted in the Gospel of John (20: 11-18), he proposed a remarkably original interpretation. He clearly knew the masterpieces of his predecessors, such as Giotto, Fra Angelico, etc., but had no hesitation in inventing a type of representation which gave new life to the theme. Titian, whose real name was Tiziano Vecellio, was then only about twenty and had, in 1510, just lost the master who, through the stress he placed on landscape and light, had had the greatest influence on him - Giorgione. For Titian, landscape was henceforth never just an afterthought but was an integral part of a painting.
Thus we see here the meeting of Christ with Mary Magdalen in the middle of a landscape which seems to be one with them, such do the lines of the natural setting continue or rhythmically complement those of the two people. We are no longer in the garden of the tomb as described by John (19: 41), but in the open countryside bathed in morning light. On Mary's side, the curve of a hillside and an earthly settlement is echoed by the inverse curve of her body thrown forward to the ground. Christ's side of the painting opens out onto the blue tinged distances of infinity. But these two different worlds - human and divine - suggested by the division of space are subtly linked to each other: the bend of Christ's body is a direct continuation of the curve of the inhabited hillside; the line of Mary's raised torso continues that of a tree which, while balancing the right side of the landscape, directs the mind of the observer to the idea of a new life. Everything in this highly sophisticated composition is designed to underscore the importance of the gestural and verbal dialogue taking place in the foreground and to highlight the novelty of the message it conveys.
Mary Magdalen has just recognized Jesus by the tone of voice in which he calls out "Mary!' Titian shows the surge of emotion which casts her to the ground, an impulse just as quickly suppressed by Christ who draws back, speaking the words, Noli me tangere, 'Don't touch me." The painter has left out most of the references which traditionally help to identify the scene: there is no tomb, no herald angel. no halo, no standard marked with the cross in the hand of the resurrected Lord. Titian contents himself with placing a hoe in Jesus' hand, a reference to Mary's first mistaken impression of him (she mistook him for a gardener), and by placing in the woman's hand the now unneeded jar of ointment. Rather, the painter innovates by evoking the resurrection through the nakedness of Christ's body, covered only by the shroud in which he had been buried - a shroud whose white draping magnificently complements the red flow of Mary's garment. He accentuates the tension in the woman's movement and the closeness of the two people whose right hands would touch were it not for Christ pulling back in a subtle movement of refusal nuanced by the affectionate inclination of his torso bending over Mary Magdalen.
The atmosphere is that of the dialogue between the lover and the beloved in the Song of Songs: "I sought him whom my heart loves." Here Mary Magdalen finds the beloved she had lost only to be immediately asked to let him go again, to 'stop holding on to him" and to go back to his brothers to share with them the news that is to transform their lives (Jn 20: 18).
For Christ is just passing by. His dance like steps are directed towards the front of the painting, not towards Mary but towards us, the viewers. We thus find ourselves facing the Lord's approach, also invited to recognize him and to announce the joy of his resurrection.
Dante Gabriel Rossetti, 1828 - 1882
Mary Magdalene at the door of Simon the Pharisee, 1858
Pen and ink on paper
Oh loose me! Seest thou not my Bridegroom's face
That draws me to Him? For his feet my kiss,
My hair, my tears He craves today: - and oh!
What words can tell what other day and place
Shall see me clasp these blood-stained feet of His?
He needs me, calls me, loves me: let me go!
It was the custom of the poet and artist Dante Gabriel Rossetti to write literary accompaniments to his pictures. The words above come from a sonnet composed as a commentary upon this richly detailed ink drawing. They are spoken by Mary Magdalene, the reformed prostitute who became one of Christ's closest female followers. Here we see the moment of her conversion, viewed incredulously by a crowd of revellers as she pulls a garland of roses from her long, flowing hair. Behind her a procession approaches from the distance. Women dance, men play musical instruments, a couple kiss as they enter a doorway.
In the foreground three people stare up at Mary. On the left a beggar girl holding a bowl watches the glamorous figure ascend the stairs, upon which a finely dressed young woman kneels, her hand pressed against the wall to block Mary's way. A young man stands immediately beneath her, dressed in a richly decorated cape, his head festooned with roses. He puts his hand upon Mary's foot and knee to further impede her progress. In a letter to a patron, Rossetti explained that this man is Mary's lover, her intended partner at the luxurious banquet in the house at the left of the drawing.
The Magdalene's attention, however, is entirely focused upon the other side of the picture. Within the doorway at the top of the stairs, a jowly, rather sour-looking man frowns out at her. This is the Pharisee Simon who has invited Christ into his house for dinner and debate. Behind him stands a serving girl, a steaming dish held aloft.
Entirely separated from the rest of the picture is the object of Mary's urgent ascent: Christ, whose radiant head is visible through a window, returning Mary's smitten gaze.
Mary herself is based upon a great beauty of the day, the actress Ruth Herbert. Rossetti wrote giddily of her impending sitting in a letter to a friend:
"I am in the stunning position this morning of expecting the actual visit at half past 11, of a model whom I have long been longing to paint for years - Miss Herbert of the Olympic Theatre - who has the most varied and highest expression I ever saw in a woman's face, besides abundant beauty, golden hair etc. Did you ever see her? O my eye! She has sat for me now and will sit to me for Mary Magdalene in the picture I am beginning. Such luck!"
Rossetti remains famous for the beautiful women he painted and loved. He referred to them as his 'stunners' and in the 1860s, shortly after finishing this drawing, he began a series of oil paintings of his models in the guise of women from literature and mythology.
Triff, this a wonderful piece, worthy of being illustrated.
Hope you enjoyed the interpretation by several reknowned masters on the subject of this post...
Y a este, lo conocen?
Carlos Alberto Garcia de la Nuez
La Habana, Cuba, 1959.
Graduado en la Academia de Artes San Alejandro, La Habana, Cuba en 1979 y en el Instituto Superior de Arte, La Habana, Cuba en 1983. Realizó su Maestría en Artes Visuales en el Massachussets College of Art, Boston, EUA en 1988. Además es Miembro de la Unión de Artistas de Cuba (UNEAC) y Miembro de la Asociación Internacional de Artistas Plásticos (AIAP).
Exposiciones personales: 19
Exposiciones colectivas: 47
Premios más importantes:
Premio Pintura 13 de Marzo, Universidad de La Habana, La Habana, Cuba.
Premio Fundación Jaime Guash, Barcelona, España
Sus obras se exponen en:
Museo Nacional de Bellas Artes. La Habana, Cuba. Colección Permanente.
Museo de Arte Costarricense. San José, Costa Rica.
Housatonic Museum of Art. Connecticut, EUA.
Museo Regional de Arte Regional. Morelia, Michoacán, México
Centro Cultural Casa Lamm, México, DF.
Galería Artuel. Paris, Francia.
Galería Neslé. Paris, Francia.
Universidad Iberoamericana, Mexico DF.
Galería Domberger. Sttutgart, Alemania.
Galería Ninart. México, DF.
Galería Talento. México, DF.
Galeria Habana. Mexico, DF
Galeria Habana. La Habana, Cuba.
El Rolo Paciel, verdad que si, que se fue a Espana igual que el gran dibujante de arquitectura Bedoya, que en paz descanse.
Y Pepito Franco en Buenos Aires hace ya mas de quince anos...
Y en Mexico Angel Ricardo Rios y en Puerto Rico Williams Carmona y en Castellon, Espana, Amaury Surez, el violinero que anduvo un ano por aqui.
Bellas Artes deberia convocar a un gran salon de los artistas en la diaspora para celebrar, cuando llegue, el deceso de Carecoco, no crees?
Ana Queral (Mexico)
Nace en 1948 en la Habana, Cuba. Entre 1962 y 1968 estudia Artes Plásticas en el Colegio Americano, en la ciudad de México y en el Taller de Dibujo y Pintura del maestro Frank González. En 1968 continúa su formación en el Metropolitan Seminar of Art, en Washington y en el Maryland Institut of Art, con estudios de diseño sobre materiales y pintura.
Entre 1984 y 1994 su formación artística continúa en cursos impartidos por maestros de la talla de José Luis Cuevas, Luis Nishisaha, Pedro Ascencio, Gilberto Aceves Navarro, entre otros; perfeccionando así su técnica en la pintura, el dibujo, el grabado y la xilografía.
JULIO LARRAZ
Nació en La Habana, Cuba, en 1944. Se trasladó a vivir a EEUU en 1961. Desarrolló una exitosa carrera como ilustrador para prestigiosas publicaciones como The New York Times, Vogue y Harper’s, ocupación que dejó para dedicarse a la pintura en 1967. Vivió en Nueva York (1972-1983) y en París (1984-1988), antes de trasladarse a Miami y luego a Italia.
Su obra corresponde a una pintura de figuración realista que aborda temas como la naturaleza muerta, la sátira política, la religiosidad popular y el paisaje aéreo. Retrata la vida con sutileza para extraer lo que yace oculto.
Ha expuesto individualmente en importantes centros, entre los que se destacan: Pyramid Galleries, Washington DC (1971); FAR Gallery, Nueva York (1974 y 1977); Westmoreland County Museum of Art, Pennsylvania (1976); Wichita Falls Museum and Art Center, Texas (1983); Museo de Arte Moderno, Bogotá (1986); Museo de Monterrey, Monterrey (1987), y A.M.S. Marlborough, Santiago de Chile (2000). Entre los reconocimientos obtenidos por este artista figuran: Cintas, Institute of International Education, Nueva York (1975); The American Academy of Arts and Letters y National Institute of Arts and Letters, Nueva York (1976), y The Childe Hassam Purchase Award, American Acade-my of Arts and Letters (1977).
Go ahead, man, it's time to do it. Carecoco's final departure to hell seems to be very close y es mejor comenzar desde ahora. Un proyecto de esa magnitud para una major institution como Bellas Artes se tomara definitivamente mucho tiempo. Mira a Veigas y Cristinita como se metieron anos en el vacilon, la viajadera y el gasto de recursos ajenos para hacer su gran obra exhaustiva, ese mamotreto incompletisimo y parcializado que no dice nada. Metele cana solito que en unos anos estara maduro. Tremenda idea. Cuenta con mi modesta y empirica colaboracion.
Mano, ese es uno de mis mas admirados artistas cubanos. Tuve el honor de conocerlo y conversar con el hace poco en el Gusman Center cuando lo del documental de la Caridad. Me cayo superbien Larraz y ojala mi timidez y autostracismo no me priven de ser su amigo y volverlo a ver.
He leido el articulo de la senora Fuentes. Resume todo lo que yo habria querido decir. No tengo dudas de que ese show ecumenico se hara algun dia en La Habana, en Miami y en muchos otros sitios.
Ah, no se. Ni sabia que Luz Merino habia estado en Miami ni que conociera la Sugar Collection. Mi trabajo es un poco provocador, pero muy distante para un funcionario moderno de Cuba. Lo que si recuerdo es que una vez me descolgaron una pieza en el museo y desaparecio para siempre. Fue en los tiempos de Lucy Villegas. Fue en una exposicion de la Brigada Hermanos Saiz que montamos desordenadamente en la planta baja. Mi cuadro se llamaba "El Bollito" y era una burla a un cuento ruso de la revista infantil Misha. Era una foto doble de un "bollito", pero en la acepcion callejera cubana del termino. Estaba colgado cerca del bano de hombres, a proposito y de ahi desaparecio. Lucy, muy amable, me pidio disculpas y como estabamos en Cuba, no les puse "un su".
Machetico, que encuentras sobre Heriberto Mora? Muy buena persona, residente de Coral Gables.
Mano, acabo de requintarme una enchilada de pollo en La Quebradita, una de las buenas "eateries" mexicanas de Homestead y tengo una pereza horrible para rastrear a nadie por la net. Luego busco algo sobre Mora, excelente vecino de Phoenetia Street y un gran artista. Es tan callado que nunca se de el, pero cuando lo veo nos saludamos con alegria.
Mientras, encontre a Alejandro Aguilera, en Athens, Georgia, aunque a cada rato viene por aqui a pegar la gorra donde Lourdes y Fernando.
Para Alejandro Aguilera, el arte es una manera de mirar la vida. Originalmente de Cuba, ha exhibido sus obras en México, Alemania y Miami. En la actualidad vive en Atlanta y dio cursos de dibujo y pintura en la Universidad de Georgia en Athens durante los últimos cuatro semestres. Siempre anima a sus estudiantes a usar diferentes medios para crear obras originales. En sus propias obras, Aguilera emplea una variedad de medios y temas. Dice que su arte es acerca de sí mismo, su familia y la historia de Cuba. También quiere captar temas globales. "Lo más importante es que, sin importar dónde estés, busques ir más allá de tu cultura". Este es su preocupación central.
Aguilera empezó su viaje por el arte cuando tenía doce años. Mientras sus hermanos jugaban y gritaban, Aguilera se sentaba en el suelo y dibujaba. Su abuela reconoció su talento artístico y pensó que lo mejor para él sería ir a la escuela de arte. Para entrar en la escuela del arte, Aguilera tuvo que pasar un examen y cada cuatro años otro examen. El examen era en frente de un jurado de oficiales del gobierno quienes le preguntaban sobre sus sentimientos personales, su familia y su arte.
La escuela de arte en Cuba era muy académica. "Nunca creaba arte en la escuela". Según Aguilera, se aprende mucho en la escuela pero cree que no se puede enseñar a una persona a cómo ser un artista. "Para convertirse en un artista, uno debe realizar un viaje personal". Debido a la manera de enseñar en la escuela, Aguilar tuvo que replantearse sus planes y dejar el arte académico.
En la universidad, tenía las notas más altas de todos los estudiantes y por eso tuvo la oportunidad de participar en un intercambio cultural donde dos estudiantes de Cuba viajaron a Massachussetts para asistir al 'Massachussetts College of Art', mientras dos estudiantes de Estados Unidos visitaron Cuba.
Durante la década de los 80, Alejandro creó arte en el cual criticaba el gobierno cubano. El gobierno cubano no acepta la individualidad y no permitió la crítica. Debido a sus problemas con la policía cubana, Aguilera, su esposa y unos amigos dejaron Cuba y se fueron a México. Durante su estancia en México, su esposa regresó a Cuba y fue puesta en la cárcel donde estuvo detenida durante 65 horas sin comida ni agua. El gobierno la interrogó porque Aguilera había dicho cosas negativas sobre el gobierno de Castro durante una entrevista. Luego, Aguilera contrató los servicios de un abogado en Miami y obtuvo asilo político.
Durante su estancia en México, Aguilera enseñó en Monterrey durante dos años donde también fue encargado de crear varias obras de arte religioso. Cuando se mudó a Estados Unidos, decidió hacer un cambio en su forma de ver y crear arte. No quiere crear arte sólo sobre la historia de Cuba, sino también sobre temas internacionales. Aguilera ya estaba familiarizado con el arte estadounidense porque en Cuba leía mucho libros y revistas de Estados Unidos. Admite que es muy difícil hacer arte en Estados Unidos pero cree que es el mejor lugar para ser un artista.
JR, dire como decimos... "no es facil". Aun estoy sacando libros y CD's de las cajas. Pero la cosa va mejorando. Hay que inaugfurar el gao nuevo pronto...
AT, Felicidades, me imagino que deben de estar agotados. Que pasen una bellas navidades, cariños de Marc y Astrid.
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