Articoli di riviste sul tema "Antes del Arte (Group of artists)"

Vitalità del negativo nell'arte italiana 1960/70, an exhibition that occupied the ground floor of the monumental Palazzo delle Esposizioni from November 30, 1970, to January 31, 1971, revived an ideologically loaded site in Rome under the mantle of contemporary art. Curated by Achille Bonito Oliva, it featured thirty-four Italian artists from a wide range of schools and mediums: painters from the Scuola di Piazza del Popolo (the Roman school of Pop); members of the ′60s Milanese group Azimut; kinetic environments by Padua's Gruppo N and Milan's Gruppo T; artists from Arte Povera; and other, more idiosyncratic installation artists.

Using as a starting point the artwork from a group of contemporary artists whose language is grounded on handicraft techniques, this article puts forward several reflections on the art production process and its impact on the act of seeing—in particular, creative processes which, by dissolving the watertight categories of arts, handicrafts, and design, focus on the sensory qualities of materials, rein in rational control on the act of making, and result in artwork which can only be understood beyond discourse. Drawing from ideas that are central to the writings of Juhani Pallasmaa, Richard Sennett, Byung-Chul Han, and Doris von Drathen, this article discusses various theoretical questions underlying the work of the aforementioned artists. They all point towards the possibility of an artistic practice that represents an ethics rooted in detachment and silence.

Artworks operating at the intersection of art and education often attempt to challenge dominant education systems in suggesting alternative pedagogical models that could function outside the official academic realm, proposing radical changes to the latter. However, the lack of continuity of alternative education models implemented by artists and curators within universities’ art and design departments fails to provide a longer-term change. This article stems from our research on the usological turn, a recent shift from spectatorship to usership according to which artists and curators tend to create art projects which situate themselves as part of a broader usership. Using an autoethnographic approach, we will analyse how the principles of the art group Arte Útil intersects with the undercommons. Hence, we explore how they apply an alternative method, through participatory curriculum planning, as a tool for change within the institution of education.

Resumen: La dificultad de esquematizar una postura homogénea frente al arte transgénico marca la necesidad de asentar un espectro divergente en torno a dicha cuestión. No obstante, teniendo en cuenta las diferentes modalidades bioéticas existentes, se ha optado por un acercamiento a la vertiente sociobiológica y a algunos de los principales pensadores que se han instalado en las proximidades de dicha corriente. Dentro del bioarte, se articula inevitablemente una implicación moral y ética, ya que desde este ámbito artístico se interviene sobre organismos vivos mediante herramientas biotecnológicas, lo que conlleva un replanteamiento de la naturaleza del arte y sus límites de actuación. En el arte genético o transgénetico, se hace uso de cultivos de células, síntesis de secuencias de ADN producidas y manipuladas, etc. Distintos creadores, como Kart Mihail y Tran Kim-Trang, Eduardo Kac, Brandon Ballengée, o el colectivo Tissue Culture & Art Project han contribuido de una manera muy productiva a incentivar este debate, que será enriquecido mediante una confinidad al apartado sociobiológico.Abstract: The difficulty of schematizing a homogeneous position in relation to the transgenic art marks the need to establish a divergent spectrum around this issue. However, taking into account the different existing bioethical modalities, we have opted for an approach to sociobiological bioethics and some of the main thinkers who have settled in the vicinity of this current. In the BioArt, the moral and ethical involvement is articulated, because from this artistic field the artists intervene on living organisms through biotechnology tools, which entails a rethinking of the nature of art and its performance limits. Within the Genetic or Transgenic Art, the artists make use of cell cultures, synthesis of DNA sequences produced and manipulated, and so on. Various artists, as Karl Mihail and Tran Kim-Trang, Eduardo Kac, Brandon Ballengée, or the group Tissue Culture & Art Project have contributed in a very productive way to stimulate this debate, being enriched by means of sociobiological field.

La Escuela Nacional Superior Autónoma de Bellas Artes del Perú (ENSABAP) comenzó sus funciones en 1919; no obstante, su creación se realizó un año antes durante el segundo Gobierno de José Pardo y Barreda (1915-1919) con el nombre de Escuela Nacional de Bellas Artes (ENBA). Los artistas nacionales Daniel Hernández (1856-1932) y José Sabogal (1888-1956) fueron los primeros directores de la institución entre los años de 1919 y 1943, años que nos interesa analizar para resaltar dos aspectos que evidenciaron las enseñanzas de los artistas maestros mencionados anteriormente: el proceso pedagógico y las características formales de la producción artística de los alumnos. Además, entender la institucionalidad artística; es decir, las actividades artísticas realizadas en distintos períodos que sirvieron para consolidar a la Escuela y, por tanto, a las artes en el país. Palabras claves: Escuela Nacional de Bellas Artes, José Sabogal, Daniel Hernández, Institucionalidad artística, Arte Peruano Siglo XX, proceso de enseñanza en arte Abstract The Escuela Nacional Superior Autónoma de Bellas Artes del Perú (ENSABAP) started its activities in 1919; however, its creation took place one year earlier during the second Government of José Pardo y Barreda (1915-1919) under the name of Escuela Nacional de Bellas Artes (ENBA). The national artists Daniel Hernández (1856-1932) and José Sabogal (1888-1956) were the first directors of the institution between 1919 and 1943, years that we are interested in analyzing in the present essay to highlight two aspects that marked the teachings of these previously mentioned artists: the pedagogical process and the formal characteristics of the artistic production of the students. In addition, to understand the artistic institutionality; that is to say, the artistic activities carried out in different periods that served to consolidate the School and, therefore, the arts in the country.

This article examines the rise and reception of conceptual art in Argentina. Against dominant readings of the 1960s' and 70s' visual avant-gardes in Latin America, I reconsider the stakes of art's so-called “dematerialization” and its unique claim on ideology critique in the work of the Grupo Arte de los Medios [Media Art Group], a collective of young artists led by the philosopher and literary critic Oscar Masotta. Arguing for a re-historicization of the 1960s avant-garde as one that emerges as a self-reflexive reaction to the novel articulation of late capitalism in Argentina, I trace a critical continuity between the Grupo Arte de los Medios and the avant-gardist claims on the fusion of art and militant politics among its immediate successors. I suggest that the Argentinean avant-garde defined its radical political stance through a reflection on the immanent relation of structural cause to symbolic form, probing and pointing to the limits of the operation of estrangement.

This article concerns Antes del Arte, a vanguard Spanish art group that existed from 1968 to 1969. Through specific examples, the author explains the group's history and theoretical basis as well as its artistic production. Discussing the references taken from contemporary aesthetic scientific theories, the author analyzes the substantial theoretical framework that the art critic Vicente Aguilera Cerni introduced into the group's manifestos. Finally, she addresses the specific role that the interactions between the artistic and the scientific fields had in the context of Spain's Franco regime.

El objetivo de este trabajo es estudiar el caso del grupo artístico japonés conocido como teamLab, formado por artistas, diseñadores, ingenieros informáticos, técnicos, etc. Trabajan piezas de arte digital de carácter proyectivo e interactivo sumamente complejas, que nadie de un modo independiente, no colaborativo podría lograr realizar. Con esta investigación se pretende analizar sus planteamientos, su modo de trabajo y sus referencias culturales más cercanas, para descubrir sus aportaciones y comprobar de que modo su obra llega a encajar en el nuevo paradigma de la globalización como es el glocalismo, resaltando aquello que procede y los identifica con su entorno cultural japonés, y lo que los lanza a dar una respuesta universal a la sociedad a través de su arte. La metodología en este caso será de tipo fenomenológico y analítico, recogiendo información sobre el grupo, todavía dispersa en prensa y páginas web, y estudiando formal y conceptualmente sus obras. The objective of this work is to study the case of the Japanese artistic group teamLab, made up of artists, designers, computer engineers, technicians, etc. They create highly complex projective digital pieces of art, which no one in an independent, non-collaborative way could achieve. This research aims to analyze their approaches, way of working and their closest cultural references, and how their work fits into the new paradigm of globalization such as glocalism, highlighting which comes from and identifies them with their Japanese cultural environment, and what launches them to give an universal answer to society through their art. The methodology in this case will be phenomenological and analytical. Information about the group will be collected, still scattered in the press and on web pages, and studying their works formally and conceptually.

ResumenLa ciudad de Arequipa, una de las más importantes del Perú, se ha caracterizado por ser tierra de acuarelistas, tal como lo deja ver la interminable nómina de virtuosos pintores que sustentan esta tradición plástica desde hace más de un siglo. Sin embargo, desde hace poco tiempo, y casi a la sombra de la acuarela, ha ido desarrollándose el trabajo de un grupo de artistas de distintas generaciones, que eligieron el grabado como medio de expresión. El presente trabajo propone una primera mirada de conjunto a este acervo gráfico. Palabras clave: Arequipa, arte, tradición plástica, arte contemporáneo, grabado. AbstractThe city of Arequipa, one of the most important cities in Peru, has been characterized as a land of watercolorists, as shown by the endless list of virtuous painters that sustains this visual arts tradition for more than a century. However, for a short time, and almost in the shadow of watercolor, the work of a group of artists from different generations has been developing engraving as a means of expression. This work proposes a first overview of this graphic collection. Keywords: Arequipa, art, plastic tradition, contemporary art, engraving.

<p>Fruto de encontro do GT Pesquisa de Dança no Brasil: processos e investigações, da Abrace - Associação Brasileira de Pesquisa e Pós-Graduação em Artes Cênicas, realizado em São Paulo em 2004, o presente texto reúne quatro depoimentos de artistas-pesquisadores-professores da dança do Brasil sobre arte e metodologias de criação e ensino ancoradas em trajetórias individuais.</p><p><br />Result of a meeting of the work group Survey of Dance in Brazil: processes and investigations, as a part of Abrace - Brazilian Association for Research and Graduate Studies in Performing Arts, held in São Paulo in 2004, that brings together four testimonials from artists-researchersteachers of dance in Brazil, about art and creating and teaching methodologies anchored in individual trajectories.</p>

At the end of the 60s of the 20th century, a group of mostly Anglo-Saxon artists began a series of works in a context of social struggle and the beginning of the environmental movement that gave rise to what has been called land art and earthworks. Since then these initiatives have had extensive development. The historical study of these works, their symbolic meaning, their impact on the development of contemporary art and the role played as an engine of development of the territories where such works have been carried out will be the main objective of this work. These artistic works are executed on the territory and remain inextricably linked to it, where man leaves his mark on nature. They are actions that build, destroy or modify the landscape to a greater or lesser extent, since they frequently acquire large dimensions. Since the end of the 20th century, some artistic interventions will be carried out to revalue the landscape of mines, quarries and salt mines, particularly after its closure. It can be said that these works show a certain ephemeral character, depending on the qualities of the geological materials and the climate, being exposed to the direct action of the meteors, and in any case, it is an outdoor art. Ecological or environmental artists will see their initiatives enhanced after the approval of the first protectionist laws in the 70s. These artists work in mines and quarries, mainly from the point of view of landscape and environmental recovery.

Marc Fernández Cuyàs es doctorando en el curso de Teoría de la Literatura y Literatura Comparada de la Universidad de Barcelona. Antes cursó el Máster Universitario en Estudios Teatrales en la Universidad Autónoma de Barcelona / Institut del Teatre de Barcelona y el grado en Estudios Literarios de la Universidad de Barcelona. Su tesis versa sobre las relaciones entre arquitectura, ciudad y espacio escénico en la segunda mitad del siglo XX a través de la obra del arquitecto Aldo Rossi. Actualmente es profesor asociado en la Escuela Superior de Arte Dramático de las Islas Baleares, donde imparte asignaturas sobre Teoría Teatral. Ha participado en congresos nacionales e internacionales y forma parte del Theatre and Architecture Working Group de la International Federation for Theatre Research. Además, ha publicado artículos en revistas académicas sobre las relaciones entre la teoría literaria, la teoría de la arquitectura y la teoría del teatro

Este artículo aborda dos experiencias de visualización, resultado del encuentro y colaboración entre artistas y científicos con el objetivo de dar respuesta a cuestiones planteadas en el proyecto I+D+i “Metamétodo: Metodologías compartidas y procesos artísticos en la sociedad del conocimiento HAR2010-18453 (subprograma ARTE)”, dirigido por Alicia Vela y desarrolladas por miembros del equipo IMARTE de la Facultad de Bellas Artes de la UB. La primera propuesta titulada Your colour memory se realiza en colaboración con la Unidad y Laboratorio de Enfermedades Neuromusculares del Instituto de Investigación Hospital de Sant Pau (UAB). En ella se analiza la capacidad del razonamiento científico como verdad certera indiscutible y el laboratorio como escenario donde germina dicha argumentación. El segundo estudio, titulado La pell de la pell, mediante la visualización de cromatografías y de planchas de fotopolímero sensible, establece una analogía con las “fachadas vivas”, construidas de hormigón biológico dónde los líquenes son los protagonistas. El estudio surge a partir del contacto y distintas visitas al Departamento de Botánica de la Facultad de Biología de la UB.Palabras-clave: Metamétodo; arte-ciencia; luz; color, sostenibilidad Your colour memory and the skin of the skin: From the artist to the scientistAbstractThis article explain two experiences of visualization framed within the Research and Development (I+D) project "Metamethod. Shared methodologies in artistic processes HAR 2010-18453 (subprogram ARTE)" developed by the artists and researchers of IMARTE Group, University of Barcelona. The first experience titled Your colour memory was made with Neuromuscular Diseases Unit and Laboratory of the Research Institute Hospital de Sant Pau (UAB). Examines the power of scientific reasoning as an unquestionable truth and the laboratory as the stage where that argument germinates. The second study, entitled The skin of the skin, starts after contact by Department of Botany, Faculty of Biology (UB). The idea of how to build living façades through biological concrete suggests an analogy from a particular visualization of the chromatographies and photopolymer plates.Keywords: Metamethod; art-science; light; color; SUSTAINABILITY

En este trabajo reviso la labor de los estridentistas, grupo mexicano de vanguardia cuya importancia no se ha reconocido en el mundo de la críítica literaria. Tras situar sus presupuestos estééticos en el cosmos de la vanguardia en general, muestro los cambios y la evolucióón que sufren los estridentistas, especialmente Manuel Maples Arce, figura central del grupo. Correlaciono y ejemplifico los cambios en sus obras con las modificaciones de su paradigma estéético segúún las fueron presentando en sus cuatro manifiestos. Propongo dos etapas. En la primera, por centrarse en el significado y la ambigüüedad de las palabras, se crea un arte fragmentado y altamente abstracto. En la segunda, en cambio, por utilizar metonimias, producen, sobre todo, textos de corte cubista máás comprometidos con la situacióón social de Mééxico. In this paper I analyze the work of the Estridentistas, a Mexican avant garde group of artists, whose work has been overlooked by most literary critics. After discussing their aesthetic paradigm in relation to the general avant garde movement, I focus on the changes and evolution within the Estridentista literature by examining the writings of these artists, mainly the work of Manuel Maples Arce, the leading figure of the movement. I compare the changes in their work with how the Estridentistas' aesthetic paradigm evolved in their four manifestos. I propose two stages to explain their literary evolution. In the first stage, they created a fragmented and highly abstract art by focusing on the meaning and the ambiguity of words, whereas in the second stage they produced cubist texts by mainly using metonymies. In addition, they showed interest in Mexican social problems.

ResumoEste artigo tem como objetivo de analisar os processos políticos e históricos acionados pelo movimento artístico das drags themônias, através de uma observação participante da quarta NoiteSuja de Bolsa, festa realizada na sede do Grupo de Mulheres Prostitutas do Pará (GEMPAC) durante período eleitoral de 2018. O evento dividiu os espaços da cidade de Belém com a Festa da Chiquita e o Círio de Nazaré, expressando disputas e conexões políticas relacionadas ao medo e à ocupação dos espaços públicos por pessoas LGBTI+, particularmente com a eleição iminente de Jair Messias Bolsonaro para a presidência do Brasil. Aproximo o conceito desenvolvido pelas themônias de megazord com o de multidões queer de Paul Preciado, de forma a iluminar a relação ainda pouco estudada em sua literatura das artistas com o seu público.AbstractThis article aims to analyze the political and historical processes mobilized by the artistic movement of the drag themônias, through a participant observation of the fourth NoiteSuja de Bolsa party, that happened that in the headquarter of GEMPAC (Prostitute Women Group of Pará) during the election period in October 2018. The event shared the spaces of Belém with Festa da Chiquita and Círio de Nazaré, expressing the political disputes and connections related to fear and public spaces occupation by LGBTI+ people, particularly with the imminent election of Jair Messias Bolsonaro as President of Brazil. I relate the megazord concept developed by the themônias to queer multitudes concept by Paul Preciado, to illuminate the still poorly studied in their literature relation between the artists and their audience.

This paper examines the narratives of a group of Lebanese authors and artists on nature in Lebanon, collected in an anthology entitled The Lost Space: The Views of Lebanese Authors and Artists on Nature (2009) published by the cultural association of George Yammine, the deceased Lebanese poet media officer and critic of literature and art (1955-2000). The essays of Etel Adnan, Antoine al-Daouihy, Hassan Daoud, Fifi Kallab and Claudia Marchelian, among some others, will form the core of the study. I will deal with their objective description and /or subjective experience and perception of Beirut, nature and the environment in Lebanon as a separate entity, and in its relation to their creative work, whence the symbiosis of the natural, the aesthetic and the creative. I will undertake to analyze in the artists’ discourses the residues of forms and frame of minds of what may be regarded as Mediterranean orientalism, namely the subjective romantic experience of nature, the nostalgia for the green Lebanon of the past, as well as the focus on the beauty of the Lebanese landscape. I hope to show that these elements are paralleled and often dialectically intertwined with a more objective image of a degraded environment, one that is moving towards greater entropy. I will conclude with a sample of variegated reactions and solutions some of the authors put forward: paradoxical expressions of love and pride for this degenerated environment, philosophical arguments that inculcate ecocentric values to public consciousness, and pragmatic solutions that consist of a reconfiguration of landscape in sound ecological manner. Resumen Este trabajo analiza la obra de un grupo de autores y artistas libaneses sobre la naturaleza en el Líbano, recogida en la antología titulada The Lost Space: The Views of Lebanese Authors and Artists on Nature (2009), publicada por la asociación cultural de George Yammime, el fallecido poeta y critico literario y de arte (1955-2000). Los ensayos de Etel Adnan, Antoine al-Daouihy, Hassan Daoud, Fifi Kallab y Claudia Marchelian, entre otros, formarán el núcleo del estudio. Exploraré su descripción objetiva y/o experiencia subjetiva y su percepción de Beirut, la naturaleza y el medio ambiente del Líbano como una entidad separada, y la relación con su obra creativa, razón de la simbiosis de lo natural, lo estético y lo creativo. Comenzaré analizando en los discrusos de los artistas las formas y estados de ánimo de lo que puede considerarse orientalismo mediterráneo, concretamente la experiencia subjetiva y romántica de la naturaleza, la nostalgia por el Líbano verde del pasado, así como la atención a la belleza del paisaje libanés. Espero demostrar que estos elementos son paralelos a, y a menudo están dialécticamente entrelazados con, una imagen más objetiva de un medio ambiente degradado, que se mueve hacia una mayor entropía. Concluiré con una muestra multicolor de reacciones y soluciones propuestas por algunos de los autores: expresiones paradójicas de amor y orgullo por este medio ambiente degenerado, argumentos filosóficos que inculcan valores ecocéntricos a la conciencia pública, y soluciones pragmáticas que consisten en una reconfiguración profundamente ecológica del paisaje.

Juan de Dios Mora is a printmaker and a senior lecturer at The University of Texas at San Antonio, where he began teaching painting, drawing, and printmaking in 2010. Mora is a prolific artist whose prints have been published in numerous venues including the catalogs New Arte Nuevo: San Antonio 2010 and New Art/Arte Nuevo San Antonio 2012. In 2017, his work was exhibited at several venues, including the McNay Art Museum in San Antonio, Texas in Juan Mora: Culture Clash (June 8–August 13, 2017) and at The Cole Art Center, Reavley Gallery in Nacogdoches, Texas, in Juan de Dios Mora (organized by the Art Department at the Stephen F. Austin State University School of Art, January 26–March 10, 2017). In 2016, Mora participated in the group show Los de Abajo: Garbage as an Artistic Source (From the Bottom: Garbage as an Artistic Source) at the Guadalupe Cultural Arts Center in San Antonio (June 10–July 29, 2016). Mora also curates the show Print It Up, which he organizes in the downtown area of San Antonio, thereby granting unprecedented exposure to numerous artists. For this exhibition, Mora mentors both students and alumni, guiding them through the exhibition process—from how to create a portfolio, frame and install artworks, to contracting with gallery owners, and selling artworks to the public. Adriana Miramontes Olivas is a doctoral student in the Department of the History of Art and Architecture at the University of Pittsburgh. She earned her BA at the University of Texas at El Paso and her MA at the University of Texas at San Antonio. Her research is in modern and contemporary global art with a focus on Latin America, gender studies, sexuality, and national identity.Dr. Deborah Caplow is an art historian and curator, and the author of a book about the Mexican printmaker, Leopoldo Méndez (Leopoldo Méndez: Revolutionary Art and the Mexican Print, University of Texas Press). She teaches art history at the University of Washington, Bothell. Areas of scholarship include twentieth-century Mexican art, the intersections between art and politics, and the history of photography. Currently, she is researching contemporary printmaking in Oaxaca, Mexico.

El artículo presenta los hallazgos de una investigación hecha sobre el proceso de la génesis del campo artístico paraguayo y el fenómeno de grupos de vanguardia antagónicos, entre los años 50 y 60’s. Se utilizó el sistema teórico de Pierre Bourdieu, cuya puesta a prueba dejó ver que sus conceptos definen, simultáneamente, una interpretación conceptual específica y unas funciones metodológicas precisas en la reconstrucción de casos particulares: por ejemplo, mantener una perspectiva relacional, ejercer la ruptura con las prenociones y los datos preconstruidos, como también estabilizar un modelo analógico para la comparación entre casos ya establecidos. Esto significa que, si bien se estudiaron las propiedades singulares del caso, el objetivo radicó en inscribirlo en una serie de casos históricos semejantes mediante el razonamiento por analogía. El artículo presenta tres dimensiones estrictamente interrelacionadas: a) dimensión epistemológica; b) dimensión histórica; y c) una dimensión de análisis. Las proposiciones teóricas hacen inteligible que las tomas de posición de los grupos Arte Nuevo y Los Novísimos constituyeron unas específicas articulaciones entre la ética, la estética y la política en el arte paraguayo. This paper shows the research finding of the Paraguayan artistic field genesis process and the phenomenon of the avant-garde antagonistic groups around the 1950s and 1960s. Pierre Bourdieu’s theoretical system was utilized for the purpose of construction and reconstruction: the deployment of concepts in this case showed that they define a specific conceptual interpretation and very precise methodological steps simultaneously. This means that, even if the singular properties of the case have been studied, the main aim resided in inscribing it in a series of similar historical cases through the reasoning by analogy. Furthermore, the logic of the investigation was composed of historical analysis, epistemological vigilance, and socio-analysis for the sake of reaching the rigorousness that characterizes sociology. The paper is structured by three interrelated dimensions: and epistemological dimension; a historical dimension; and a dimension of the analysis.Naturally, the Paraguayan artistic field has displayed singular properties like a particular case. But the heuristical power of Bourdieu’s theoretical propositions has allowed inscribing the Paraguayan case in the model of symbolic revolutions and in the specific struggle which revolved around the proper definition of art that was carried out by avant-garde groups. At the same time, the political context was a fundamental element: as Stroessner’s power was increasing (with the support of international cooperation like Brazil or the United States contributions), local artists, writers, and intellectuals were defining the structure and the autonomy of the cultural production field. Primarily, the importance of the actions of the group called Arte Nuevo was fundamental in the relative rupture with postulates of academic art; but later, Los Novísimos’ irruption played as a trigger of ethic and aesthetic investments that modified the field structure as it was emerging. Results show, on the one hand, the interrelations between ethics, aesthetic and political issues in the Paraguayan artistic field during the historical period studied and, on the other hand, the theoretical force of Bourdieu’s concepts. Finally, the approach applies a dispositionalist theory to study the process of symbolic production.

DESCOLONIZAR CON LA MINGA VISUAL: UNA PLACA DE VIDRIO Y UN RETRATO DE FAMILIARESUMENEste artículo recoge una serie de reflexiones en torno a las estrategias decoloniales que, desde las llamadas mingas visuales –prácticas artísticas centradas en (re)leer e intervenir imágenes de archivo– desarrollaron dos artistas ecuatorianas entre el 2012 y 2015 para (re)leer la representación fotográfica de género, clase y etnia inscrita en un retrato grupal titulado Retrato de familia, producido por el fotógrafo ecuatoriano Miguel Ángel Rosales en su estudio en la ciudad de Ibarra en la década de 1930.PALABRAS CLAVEFotografía, retrato, familia, racismo, archivo, arte, colonialidad, decolonialidad, minga visual.MANA MINISTIDU KAWASPALLA RURAI: SUG KILKAI VIDRIOWA RURASKA SUG FAMILIARURASUGLLAPIKai mailla kilkapi llullachiku tukuikunata imasami iachaskakuna sutichinga minga kawaspa maquiwa ruraska chagpimanda kawai kallariska ñugpamanda kausaikuna ka iska warm, Ecuador nimanda kai watapi 2012-2015 kawachinaku tukui kaugsai, fotokuna. Pikunami kanchi, kai kilkai sutika. Parla kuna nukanchipa falicunamanda, chasallata sug iacha runa Migeul Angel Rosales mas iachakuspa maipi vida llukskapi kai watapi, 1930.IMA SUTI RIMAI SIMI:Fotokuna, kawai, nukanchipura, ñugpamanda rurai, subrigcha minga, kawaspa.DECOLONIZING WITH A VISUAL MINGA: A GLASS PLATE AND A FAMILY PORTRAITABSTRACTThis article contains a series of reflections on the decolonial strategies which were developed by two Ecuadorian artists, between 2012 and 2015, from the so called visual mingas – artistic practices focused on (re)reading and intervening archival footage – to (re)read the photographic representation of gender, class and ethnicity registered in a group portrait entitled Family Portrait, produced by the Ecuadorian photographer Miguel Angel Rosales in his studio in the city of Ibarra in the 1930s.KEYWORDSPhotography, portrait, family, racism, archive, art, coloniality, decoloniality, visual minga. tRetrato de familia, de la serie “Racializando al otro”; Foto Estudio Rosales, 1930-40 arteymemoria_DÉCOLONISER AVEC UN MINGA VISUELLE : UNE PLAQUE DE VERRE ET UN PORTRAIT DE FAMILLERÉSUMÉCet article contient une série de réflexions sur les stratégies décoloniales, qui, à partir de ce qu’on appelle les mingas visuelles - pratiques artistiques axées sur la (re)lecture et l’intervention des images d’archives - ont été développées par deux artistes équatoriens entre 2012 et 2015 pour (re)lire la représentation photographique du genre, des classes et de l’ethnicité enregistrée dans le portrait de groupe Portrait de famille, créé par le photographe équatorien Miguel Angel Rosales dans son atelier dans la ville de Ibarra dans les années 1930. MOTS-CLEFS Photographie, portrait, famille, racisme, archives, art, colonialité, decolonialité, minga visuelle.DESCOLONIZAR COM A “MINGA” VISUAL: UMA PLACA DE VIDRO E UM RETRATO DE FAMÍLIA.RESUMOEste artigo recolhe uma serie de reflexões em torno às estratégias de coloniais que, desde as chamadas “mingas” visuais – práticas artísticas centradas em (re) ler e intervir imagens de arquivo desenvolvido dos artistas equatorianas entre o 2012 e 2015 para (re) ler a representação fotográfica de gênero, aula e etnia inscrita em um relato grupal titulado Retrato de família, produzido pelo fotógrafo equatoriano Miguel Ángel Rosales no seu estudo na cidade de Ibarra na década de 1930. PALAVRAS CHAVES Fotografia, retrato, família, racismo, arquivo, arte, colonialidade, decolonialidade, “minga” visual. Recibido el 13 de noviembre de 2015 Aceptado el 16 de diciembre de 2015

RESUMEN: En el presente artículo analizamos los abordajes de los signos religiosos populares, enfatizando los de origen africano, en la fotografía cubana entre 1980 y 2022. Partimos por entregar un conjunto de herramientas conceptuales que viabilizan nuestro acercamiento crítico al objeto de estudio. Para ello, comenzamos por definir dos aspectos claves: los aparatos y el colonialismo interno. A continuación, contextualizamos las políticas estatales cubanas ligadas a la religiosidad y al devenir de la fotografía desde 1959. En el tercer y cuarto acápites, relacionamos un conjunto de artistas cubanos que abordan la religiosidad popular mediante la fotografía. Sistematizamos sus obras desde 1980 hasta 2022. Señalamos los credos abordados, las soluciones artísticas y los asuntos tratados por los autores. Subrayamos la articulación entre los acercamientos críticos, la religiosidad y las problemáticas sociales. Estas últimas abarcan las relaciones de género, la precariedad económica, las transformaciones de las prácticas cotidianas y el efecto de las políticas estatales. Las obras estudiadas manifiestan la trascendencia de la religiosidad en el pueblo cubano y la expansión semántica de los signos y sus configuraciones visuales. En términos metodológicos, empleamos la perspectiva teórica del arte de resistencia, la metodología cualitativa y el método de análisis de discurso (AD). ABSTRACT: In this article we analyze the approaches of popular religious signs, emphasizing those of African origin, in Cuban photography between 1980 and 2022. We start by presenting a set of conceptual tools that support our critical approach to the object of study. To do this, we define two key aspects: the apparatuses and internal colonialism. Next, we contextualize the Cuban state policies linked to religiosity and the evolution of photography since 1959. In the third and fourth sections, we relate a group of Cuban artists who approach popular religiosity through photography. We systematize these works from 1980 to 2022. We point out the creeds addressed, the artistic solutions, and the issues addressed by the authors. We emphasize the articulation of critical approaches, religiosity, and social problems. The latter encompass gender relations, economic precariousness, changes in daily practices, and the effect of state policies. The works we study show the importance of religiosity in the Cuban people and the semantic expansion of signs and their visual configurations. In methodological terms, we use the theoretical perspective of resistance art, the qualitative methodology, and the discourse analysis method.

ResumoEste ensaio traz a fala de uma mulher que descobre em si um palhaço, mesmo atuando, há 13 anos, como palhaça. O encontro com o palhaço Uisquisito ocorreu em 2012, no grupo de teatro Palhaços Trovadores, do qual faço parte há 10 anos. A partir disso, atuar na palhaçaria com gêneros diferentes, feminino e masculino, trouxe-me reflexões não só na arte do palhaço, fato de ter dois palhaços, mas sobretudo, de se provocar discussões do que é uma mulher que tem um palhaço, que em suas primeiras experimentações faz leituras de poemas-manifestos. Com um olhar de pesquisadora para meu fazer artístico, escrever e ler poemas-manifestos se tornou uma característica do Uisquisito. Seus escritos sempre relacionados aos contextos políticos atuais da cidade de Belém, muitos referentes a falta de investimentos na área da cultura, ao descaso com os artistas, as limitações de acesso aos teatros e outros espaços para o movimento artístico na cidade. O Uisquisito me faz pensar na potência política que a comicidade tem, tanto no ato transgressor de uma mulher ser palhaça e ser palhaço por desejo, não por imposição, como era no circo antigamente, quanto na força de provocar reflexões sobre os contextos políticos na atualidade, trazendo o teatro, a comicidade e a palhaçaria como uma forte arma de discussão.AbstractThis essay brings the speech of a woman who discovers in herself a male clown, even though she has been acting for 13 years as a female clown. The meeting with the clown Uisquisito took place in 2012, in the theater group Palhaços Trovadores, which I have been a part of for the last 10 years. Acting through different gender in clowns brought me reflections, not only in the art of clown, in the fact of having two them, but most of all, provoking discussions of what is a woman who has a male clown, who in his first experiments performed poem-manifest readings. With a researcher’s eye at my artistic work, writing and reading poems-manifest has become a feature of Uisquisito. His writings are related to the current political contexts at the city of Belém, referring mainly to investments in the cultural area, neglect of artists, limitations of theaters and spaces for the artistic movement in the city. Uisquisito makes me think about the political power comedy has, first in the transgressing act of a woman being a being a male clown by desire, not by imposition, as it used to be in the circus of old. Second, in the force of provoking reflections on the political contexts nowadays, bringing the theater, comedy and clownery as a strong weapon of discussion.

Durante la década de los años cincuenta del pasado siglo la ciudad de Milán creció a un ritmo acelerado al tratar de acomodar a la población que, como consecuencia de los movimientos migratorios acaecidos al final de la Segunda Guerra Mundial, se había ido alojando en la periferia. Algunas entidades, como la Diócesis de esta ciudad, trataron de dar ayuda espiritual a los habitantes de estas áreas en crecimiento, consolidándose esta iniciativa en un plan de construcción de nuevos complejos parroquiales en los alrededores de la ciudad. En el año 1955 es nombrado Arzobispo de Milán Giovanni Battista Montini, futuro Papa Pablo VI, que será una figura clave, el verdadero artífice tanto de este plan de construcción de iglesias como de la modernización de la imagen de la arquitectura sacra en Milán. Montini encargó muchos de los proyectos a arquitectos innovadores de experiencia probada, que trabajaban habitualmente en Milán o en otras zonas de Italia, pero también solicitó la redacción de algunos proyectos a jóvenes arquitectos que apenas tenían experiencia en el campo de la arquitectura eclesiástica. Con él, el ritmo de construcción de iglesias se incrementó considerablemente en los alrededores de la ciudad, llegando a levantarse en esos años más de cien nuevos edificios sacros. La intención de este texto es señalar, a través de una serie de ejemplos relevantes, entre los que destaca la iglesia Mater Misericoridae, cómo la Diócesis de Milán contribuyó, mediante una renovación de la imagen de la Iglesia como institución a través de su arquitectura, a definir la identidad de algunos barrios periféricos de la ciudad. En ellos, las nuevas construcciones eclesiásticas se convirtieron en hitos, símbolos de una importante renovación litúrgica que se había iniciado unas décadas antes en otros puntos de Europa Algunas de las nuevas propuestas arquitectónicas, en las que la Iglesia Católica apostó por apoyar la reconciliación entre arte moderno y arte sacro, se convirtieron en modelos de referencia en los que confluían tradición y modernidad. El caso concreto de la Iglesia Mater Misericordiae permite reconocer un alto grado de experimentación, muy por encima de otras arquitecturas coetáneas, tanto religiosas como civiles, muestra de la apuesta que la Diócesis milanesa, y en concreto el Cardenal Montini, hizo al apoyar la construcción de un proyecto renovador de verdadero carácter vanguardista.PALABRAS CLAVE: Milán de posguerra, arquitectura sacra, renovación litúrgica, iglesia y modernidad. During the 50s’ the city of Milan experienced a fast growth to accommodate the population that arrived into the city as a consequence of the migratory movements that took place at the end of the Second World War. Some organizations, such as the Archbishopric of the city, tried to provide with spiritual help to the inhabitants of this developing areas. This initiative turned into a plan for the construction of new parish churches in the settlements around the city. In the year 1955 Giovanni Battista Montini - who a few years later would become pope Paulus VI- Became archbishop of Milan and took over the management and planning for the construction of new churches. He was responsible for the modern image of sacred architecture in this city. Montini commissioned a group of innovative architects with proven experience that had already worked in Milan or other parts of Italy to deliver some of the Projects. At the same time, he appointed a group of young architects with relatively little experience in the field of ecclesiastical architecture and put them in charge of a second group of projects projects. Under Montini the rhythm of churches construction in the neighborhoods around Milan increased considerably and more than one hundred churches were constructed during this period and the following years. This paper discusses the contribution of the Diocese of Milan, within the renovation of the church as an institution through its architecture, to define the identity of some of the new peripheral areas of the city. For this purpose, some of the most interesting examples of architecture constructed during this period have been selected. Among all this constructions the church of Mater Misericordiae can be singled out for a number of reasons. These new sacred constructions became symbols of the important Liturgical renewal that had started a few decades before in some other parts of Europe. Some of these new architectural proposals, in which the Catholic Church tried to reconcile modern and sacred art, became new models of reference in which tradition and modernity went hand by hand. In the case of the church of Mater Misericordiae a high level of experimentation, well above some other contemporary sacred and civil constructions, can be recognized. This is an evidence of Montini’s commitment, to support a really avant-garde renewal project.KEYWORDS: Post-war Milan, Sacred Architecture, Liturgical renewal, church and modernity.

Resumo: Inspirada na fantasia parisiense, a boemia carioca finissecular ansiava por formar um grupo à parte da estrutura dominante e assim produzir uma arte livre de convenções (BOURDIEU, 1996). Integrante da roda boêmia da década de 1890, Gonzaga Duque não apenas partilhou desses sonhos, mas assistiu igualmente à sua derrocada. Tal experiência, por sua vez, foi registrada na produção literária do autor. Logo, a fim de analisar a representação do cenáculo boêmio de que Duque fez parte, este trabalho propõe um estudo de três crônicas publicadas na revista Kosmos, em 1908, a saber: “No tempo da Gazetinha”, “Crônica de saudade” e “O cabaret da Ivone”. Apesar de a crônica ser comumente conhecida por captar instantes efêmeros do presente, Gonzaga Duque se vale desse gênero para rememorar o passado. Na contramão da veloz modernização, o autor se volta para a cidade do Rio de Janeiro antes da reforma urbana de Pereira Passos. Não por acaso, alguns dos lugares que desapareceram com as obras do prefeito foram decisivos para a vivência boêmia. Nesse sentido, ao resgatar a memória desses espaços urbanos, as crônicas aqui analisadas evocam com certa nostalgia um ideal boêmio agora fracassado. Ao registrar o perecimento da ilusão de outrora, o cronista, já próximo da morte, acaba por testemunhar a própria decadência. Palavras-chave: Gonzaga Duque; boemia; reforma urbana; crônica. Abstract: Inspired by Parisian fantasies, the bohemia of Rio de Janeiro at the end of the nineteenth-century yearned to create a group separate from the dominant structure and, thereby, to produce art free from conventions (BOURDIEU, 1996). A member of the bohemian circle in the 1890s, Gonzaga Duque did not only share those dreams, but equally watched their downfall. This experience, in turn, was registered in the author’s literary production. Therefore, in order to analyze the representation of the bohemian cenacle which Duque was part of, this work focuses on three chronicles published in Kosmos magazine in 1908, namely: “No tempo da Gazetinha”, “Crônica de saudade” and “O cabaret da Ivone”. While the chronicle is known for grasping ephemeral instants of the present, Gonzaga Duque drew upon this genre to recall the past. In the opposite direction of rapid modernization, the author turns to the city of Rio de Janeiro before Pereira Passos’ urban reform. Not by chance, some of the places that disappeared with the mayor’s restoration were significant to the bohemian lifestyle. In this way, in rescuing the memory of those urban spaces, the chronicles analyzed here evoke, somewhat nostalgically, a bohemian ideal now failed. In recording the perishing of his former illusions, the chronicler, already close to death, ends up testifying to his own decadency. Keywords: Gonzaga Duque; bohemia; urban reform; chronicle.

From the theoretical point-of-view, the azulejo has been studied in Portugal since the second half of the nineteenth century through a perspective that increasingly highlights the idea of originality and, more recently, the identity factor. Actually, today the azulejo is regarded as one of the arts that best identifies Portuguese heritage. However, is it truly so? Is it reasonable to associate identity narratives with azulejo or is this idea connected only to issues of national marketing?Included in the Month of the Azulejo and the European Year of Cultural Heritage, AzLab#42 special seminar, entitled Identity(ies) of the azulejo in Portugal [1], aimed at debating issues of identity related to glazed tiles, focusing its attention both on the historiographic construction of this (these) concept(s) and on the different points that distinguish the Portuguese usage of the glazed tile from how other countries understand this art form.Following a protocol signed between the Rede de Investigação em Azulejo (Azulejo Research Network – ARTIS-IHA/FLUL) and the Amigos do Museu Nacional do Azulejo Association (Friends of the National Azulejo Museum), AzLab#42 took place at Amphitheater III of the School of Arts and Humanities of the University of Lisbon on October 4, 2018. The international call for papers had a significant number of proposals, from which, after a blind peer-review process, six were selected. To the latter, three other sessions were added with guest-speakers whose work has been acknowledged in this field of study, which in turn led to vigorous discussions in the several debates held during the seminar.For the reasons given, because it secures contributes of the several authors with different educational backgrounds and nationalities, the conference proceedings now published are enormously relevant for the future. In addition, this volume also fulfills one of the initial goals of this initiative: to introduce the scientific community’s perspective of this matter and contribute to the theoretical support of the Portuguese azulejo’s application to UNESCO World Heritage.ARTis ON’s special number mirrors AzLab#42 seminar’s program. As a result, it starts with a set of articles related to historiography, featuring studies dedicated to general themes which are followed by more specific ones. Nuno Rosmaninho’s article opens this volume with a study entitled “Portuguese azulejos and other national arts” in which the author seeks to “link the identity appropriation of the azulejo to a source common to most artistic discourse in the nineteenth and twenty-first centuries”.Focusing on differentiating issues, Alexandra Gago da Câmara and Rosário Salema de Carvalho list originality facts identified by European historiography until the mid-twentieth century, observing how these spring from seemingly diverse ideas to actually embody a set of well-defined points. From an even more funnelled perspective, Sandra Leandro explores Joaquim de Vasconcelos’ role in this context while João Pedro Monteiro addresses one of the most significant researchers in the glazed tile field of study – João Miguel dos Santos Simões.The appreciation of the convergent and divergent points between Portuguese and Spanish tiles, understood as focal loci for the azulejo’s universal reach, is presented by Jaume Coll Conesa. Following this study, there is a set of articles that, addressing the call for papers’ theme “azulejo: what identity(ies)”, considers certain distinctive characteristics. Fátima Rodrigues and Pedro J. Freitas analyse patterned tiles using mathematical models of classification; Cristina Carvalho examines advertising panels; Shelley Miller shows how her artistic interventions call the concept of identity into question and, continuing with contemporaneous studies, Inês Leitão ends this section by analysing how artists perceive identity issues associated with the azulejo.However, there is still plenty to debate and clarify. Indeed, one of the most interesting points concerning AzLab#42, and the articles now published, rests on the range of topics that arise as future research perspectives. Nevertheless, is the importance acknowledged to the azulejo today, how it distinguishes national landscape – whether by its physical presence or as a key element in the Portuguese collective imaginary – as well as its role as a reference to a broad set of other cultural and artistic displays, ranging from fashion to cuisine, enough to grant it the status of a culture’s identity defining art form? Or are we sometimes witnessing a discourse that aims to subordinate Portuguese tiles to a wider narrative, making them fit into a set of supposedly distinctive factors, which actually intends to build a national image for foreign consumption?Since we believe this volume is a contribution to the future and that from this initiative several others might be held, for the moment we must thank all participants and AzLab#42’s Scientific and Executive Committee. In addition, we would like to highlight the support given by Inês Leitão in terms of graphic design and organisation as well as by Rafaela Xavier and Fábio Ricardo.---[1] AzLab is a monthly seminar organised by the Az group – Azulejo Research Network, of ARTIS – Instituto de História da Arte da Faculdade de Letras da Universidade de Lisboa (Art History Institute of the School of Arts and Humanities of the University of Lisbon), in collaboration with the National Azulejo Museum (https://blogazlab.wordpress.com). AzLab’s goal is to create new analysis perspectives on issues related to the azulejo, among which are research, inventory, collecting, safeguarding, creating or divulging. The idea of developing a research lab on azulejo, which addresses experimental procedure concepts associated with these spaces, is applied to the discussion AzLab wishes to promote. It also introduces a concept foreign to art history, aiming at developing a multidisciplinary research. Every month a theme is submitted to public debate, which may stem from research projects, masters’ dissertations, PhD thesis, among others. National researchers, who are connected to the most diverse institutions, are invited to participate as well as, whenever possible, foreign scholars. AzLab#42 special Identity(ies) of the Azulejo in Portugal was a one-day conference, which was co-organised by the Amigos do Museu Nacional do Azulejo Association and also supported by Centro Atlântico publisher.

A atuação de acadêmicos indígenas e de artistas indígenas vem transformando o cenário interétnico de Roraima, uma vez que esses sujeitos fazem frente às imagens estereotipadas que o discurso colonial constrói sobre os povos indígenas. Ao fazerem isso, constroem imagens contra-coloniais que remetem à noção benjaminiana de uma história “a contrapelo”, reindigenizando o espaço urbano, ocupando com destaque o meio universitário, exercendo papeis que antes eram impedidos de exercer, sobretudo o de mediadores interculturais. A arte contemporânea e a produção cultural e acadêmica dos indígenas, portanto, são maneiras de relacionar valores e saberes ancestrais com novos meios de expressão, tendo nas imagens mais um elemento das disputas interétnicas. Palavras-chave: arte indígena contemporânea; acadêmicos indígenas. BETWEEN TRAPS AND SHORTCUTS: INDIGENOUS ACADEMICS AND INDIGENOUS ARTISTS IN THE INTERETHNIC CONTEXT OF RORAIMA Abstract:The work of indigenous scholars and indigenous artists has transformed the interethnic scenery of Roraima, since these subjects face the stereotyped images builded by the colonial discourse on indigenous peoples. In doing so, they construct counter-colonial images, that refer to Benjamin's notion of a story “against the grain”, reindigenizing the urban space, occupying prominently the university environment, playing roles that were previously prevented from exercising, especially of intercultural mediators. Contemporary art and the cultural and academic production of indigenous people are therefore ways of relating ancestral values and knowledge with new means of expression, with images as an element of interethnic disputes. Keywords: contemporary indigenous art; indigenous academics.

Definir a performance como arte de resistência nos convida a analisar o trabalho da artista Esther Ferrer realizado durante o período durante o franquismo na Espanha e junto ao grupo de artistas ZAJ, assim como depois da queda do general Franco nos anos 70. A partir desta análise começaremos explorando as definições do termo performance sobretudo enquanto arte contendo uma estética de resistência. Com relação às performances de Esther Ferrer, também analisamos a questão da performance como arte que ultrapassa fronteiras e que seria influenciada pela pedagogia proposta pelos Freinet, ou seja, a da escola interativa tendo como motor a idéia de “expressão livre" para as crianças. Performance as an art of resistance: readings from Esther Ferrer Abstract: To define performance art as an art of resistance invites us to analyze Esther Ferrer's performance during the period of Francoism in Spain and together with the ZAJ artists’ group, as well as after the fall of general Franco in the seventies. Starting with this analysis, we will begin exploring the definitions of the terms performance and resistance. Esther Ferrer’s performances invite us to analyze performance as an art that crosses borders and which was influenced by Freinet’s pedagogy about interactive schooling and its driving idea of “free expression" for children.

Neste artigo procuro apresentar a trajetória do artista José de Barros nascido na cidade deRecife em Pernambuco nordeste do Brasil em 1943 e falecido, na mesma cidade, em 1994 doséculo vinte. Sua incursão no campo das artes se deu, sobretudo, em meados dos anos 1970à década de 1990 marcando sua inserção no meio artístico via participação em exposições,sendo assunto da escrita critica de arte na imprensa, se vinculando a algumas instituiçõesformativas em arte e via relações de amizade e trabalho com artistas já consagrados. Nesseartigo defendo a idéia que o contexto cultural, político e social dos anos 1970, o grupo deamigos com o qual compartilha ideias, práticas e modos de fazer, sentimentos e visões demundo o conduziu a posturas - no campo das artes e da vida - próximas do que ficou rotuladopor desbunde e experimentalismo. De outra parte, enfatizo sua importância, comoprofessor de artes plásticas no âmbito da formação “do artista e ou docência em arte”.Palavras Chaves: História da Arte Brasileira; Ensino da Arte; José de Barros; Trajetória; Experimentalismo;Desbumde; Pernambuco.AbstractThe purpose of this article is to present he life trajectory of the artist José de Barrosborn in the city of Recife, Pernambuco, in 1943 and died in 1994 in the same city. Hisimmersion into the arts happened especially from the 70’s until the 90’s participating inexpositions, receiving critics on the press, joining some art formation institutions andvia his friend and collaborations with consecrated artists. I defend the idea that the cultural,political and social context of the 70’s, his group of friends with whom he sharedhis ideas, led him to specific postures – in his personal and professional life – correspondingtowhatwasnameddesbundeandexperimentalism.Ontheotherhand, I emphasize hisimportance as an art teacher in the formation of the artist or the art teachers.Keywords: BrazilianArtHistory; TeachingofArts; Jose de Barros; Life Trajectory; Experimentalism;Desbunde; Pernambuco.

OS MOVIMENTOS ARTÍSTICOS QUE PODEM TRANSFORMAR A SOCIEDADE BRASILEIRAO presente trabalho aqui apresentado tem como objetivo apresentar as diversidades culturais existentes na sociedade muitas vezes não difusas. Muitas vezes os movimentos artísticos independentes transformam a sociedade de forma direta ou indireta. Os movimentos culturais independentes surgem na sociedade por ela mesma como uma consequência da falta de arte oferecida pelo estado, além de significar a expressão de uma população que tem a voz sufocada por maiores forças. As fotos que serão apresentadas a seguir teve o intuito de registrar momentos importantes para os grupos sociais em questão. A fotografia que significa ‘’escrita da luz’’ capta e repassa o tempo e o espaço paralisado por uma maquina tecnológica. Como fotógrafo documental e graduado em história, vi a trama política e social que estão incluídas nas diversas maneiras de se expressar artisticamente em grupo, especificamente por grupos marginalizados.Os movimentos artísticos independentes são aqueles que ocorrem sem iniciativa do estado – tão menos há ligação entre o povo e governo para a realização das atividades. Batalhas de rimas, recitais de poesias, shows abertos e teatro de rua são exemplos desses movimentos. A ideia principal é fomentar a arte e oferecer entretenimento à população, seja porque não há oferta de arte à sociedade ou porque a arte oferecida a esta não é libertadora. A arte tem de libertar e não aprisionar, tem que se posicionar perante à politica e à realidade social existente nas cidades. Os diversos governos ao longo da história utilizaram a arte como ferramenta de libertação ou repressão, da Grécia à Alemanha Nazista, do Império Romano aos dias de hoje – uns libertaram para a vida, outros deram circo para reprimir e outros caçavam artistas. O motivo é simples e coeso, a arte pode politizar e os donos do poder sabem disso. Porém, a população também é detentora deste conhecimento. Oferecer arte e cultura para populações marginalizadas que antes não tinham acesso à educação de forma prazerosa agora passa a ter. Letras de músicas, poesias sobre a vida e sociedade, teatro criticando a realidade, tende a transformar a sociedade. O papel da fotografia se torna essencial: captar a transformação ao longo dos diferentes momentos para registrar e ter as provas de que os movimentos aglomeram pessoas, as deixam felizes e fazem elas pensar.PALAVRAS-CHAVE: CULTURA. ARTE. SOCIEDADE. JUVENTUDE. TRANSFORMAÇÃO THE MOVEMENT ARTISTIC INDEPENDT THAT CAN TRANSFORM THE BRAZILIAN SOCIETYThe present work presented here aims to present the cultural diversities existing in society that are often non-diffuse. Independent artistic movements often transform society directly or indirectly. Independent cultural movements emerge in society by itself as a consequence of the lack of art offered by the state, besides signifying the expression of a population that has a voice suffocated by greater forces. The photos that will be presented below were intended to record important moments for the social groups in question. The photograph meaning ''writing of light'' captures and passes time and space paralyzed by a technological machine. As a documentary photographer and graduated in history, I saw the political and social fabric that are included in the various ways of expressing themselves artistically in groups, specifically by marginalized groups. Independent artistic movements are those that occur without state initiative – the less there is a connection between the people and government to carry out the activities. Battles of rhymes, poetry recitals, open shows and street theater are examples of these movements. The main idea is to promote art and offer entertainment to the population, either because there is no art offer to society or because the art offered to society is not liberating. Art must liberate and not imprison, it has to stand before the politics and social reality existing in cities. The various governments throughout history have used art as a tool of liberation or repression, from Greece to Nazi Germany, from the Roman Empire to the present day – some have freed for life, others have given circus to repress and others hunted artists. The reason is simple and cohesive, art can politicize and the owners of power know it. However, the population also has this knowledge. Offering art and culture to marginalized populations that previously did not have access to education in a pleasurable way now begins to have. Lyrics of songs, poetry about life and society, theater criticizing reality, tends to transform society. The role of photography becomes essential: capturing the transformation along the different moments to record and have the evidence that movements crowd people, make them happy and make them think.KEYWORDS: CULTURE. ART. SOCIETY. YOUTH. TRANSFORMATION.

Introduction «I have never worked in the technocratic exaltation, solving a constructive problem and that’s it. I’ve always tried to interpret the space of human life» (Vittorio Garatti). Vittorio Garatti (Milan, April 6, 1927) is certainly one of the last witnesses of one “heroic” season of Italian architecture. In 1957 he graduated in architecture from the Polytechnic of Milan with a thesis proposing the redesign of a portion of the historic centre of Milan: the area between “piazza della Scala”, “via Broletto”, “via Filodrammatici” and the gardens of the former Olivetti building in via Clerici. These are the years in which Ernesto Nathan Rogers established himself as one of the main personalities of Milanese culture. Garatti endorses the criticism expressed by Rogers to the approval of the Rationalist “language” in favour of an architecture that recovers the implications of the place and of material culture. The social responsibility of architecture and connections between architecture and other forms of artistic expression are the invariants of all the activity of the architect, artist and graphic designer of Garatti. It will be Ernesto Nathan Rogers who will offer him the possibility of experiencing these “contaminations” early: in 1954, together with Giuliano Cesari, Raffaella Crespi, Giampiero Pallavicini and Ferruccio Rezzonico, he designs the preparation of the exhibition on musical instruments at the 10th Milan Triennale. The temporary installations will be a privileged area in which Garatti will continue to experiment and integrate the qualities of artist, graphic designer and architect with each other. Significant examples of this approach are the Art Schools in Cuba 1961-63, the residential complex of Cusano Milanino in 1973, the Attico Cosimo del Fante in 1980, the fittings for the Bubasty shops in 1984, the Camogli residence in 1986, his house atelier in Brera in 1988 and the interiors of the Hotel Gallia in 1989. True architecture generates itself1: an approach that was consolidated over the years of collaboration with Raúl Villanueva in Venezuela and is fulfilled in Cuba in the project of the Art Schools, where Garatti makes use of a plurality of tools that cannot be rigidly confined to the world of architecture. In 1957, in Caracas, he came into contact with Ricardo Porro and Roberto Gottardi. Ricardo Porro, who returned to Cuba in 1960, will be the one to involve Vittorio Garatti and Roberto Gottardi in the Escuelas Nacional de Arte project. The three young architects will be the protagonists of a happy season of the architecture of the Revolution, they will be crossed by that “revolutionary” energy that Ricardo Porro has defined as “magical realism”. As Garatti recalls: it was a special moment. We designed the Schools using a method developed in Venezuela. We started from an analysis of the context, understood not only as physical reality. We studied Cuban poets and painters. Wifredo Lam was a great reference. For example, Lezama Lima’s work is clearly recalled in the plan of the School of Ballet. We were pervaded by the spirit of the revolution. The contamination between knowledge and disciplines, the belief that architecture is a “parasitic” discipline are some of the themes at the centre of the conversation that follows, from which a working method that recognizes architecture as a “social transformation” task emerges, more precisely an art with a social purpose. Garatti often cites Porro’s definition of architecture: architecture is the poetic frame within which human life takes place. To Garatti architecture is a self-generating process, and as such it cannot find fulfilment within its disciplinary specificity: the disciplinary autonomy is a contradiction in terms. Architecture cannot be self-referencing, it generates itself precisely because it finds the sense of its social responsibility outside of itself. No concession to trends, to self-referencing, to the “objectification of architecture”, to its spectacularization. Garatti as Eupalino Valery shuns “mute architectures” and instead prefers singing architectures. A Dialogue of Luigi Alini with Vittorio Garatti Luigi Alini. Let’s start with some personal data. Vittorio Garatti. I was born in Milan on April 6, 1927. My friend Emilio Vedova told me that life could be considered as a sequence of encounters with people, places and facts. My sculptor grandfather played an important role in my life. I inherited the ability to perceive the dimensional quality of space, its plasticity, spatial vision from him. L.A. Your youth training took place in a dramatic phase of history of our country. Living in Milan during the war years must not have been easy. V.G. In October 1942 in Milan there was one of the most tragic bombings that the city has suffered. A bomb exploded in front of the Brera Academy, where the Dalmine offices were located. With a group of boys we went to the rooftops. We saw the city from above, with the roofs partially destroyed. I still carry this image inside me, it is part of that museum of memory that Luciano Semerani often talks about. This image probably resurfaced when I designed the ballet school. The idea of a promenade on the roofs to observe the landscape came from this. L.A. You joined the Faculty of Architecture at the Milan Polytechnic in May 1946-47. V.G. Milan and Italy were like in those years. The impact with the University was not positive, I was disappointed with the quality of the studies. L.A. You have had an intense relationship with the artists who gravitate around Brera, which you have always considered very important for your training. V.G. In 1948 I met Ilio Negri, a graphic designer. Also at Brera there was a group of artists (Morlotti, Chighine, Dova, Crippa) who frequented the Caffè Brera, known as “Bar della Titta”. Thanks to these visits I had the opportunity to broaden my knowledge. As you know, I maintain that there are life’s appointments and lightning strikes. The release of Dada magazine provided real enlightenment for me: I discovered the work of Kurt Schwitters, Theo Van Doesburg, the value of the image and three-dimensionality. L.A. You collaborated on several projects with Ilio Negri. V.G. In 1955 we created the graphics of the Lagostina brand, which was then also used for the preparation of the exhibition at the “Fiera Campionaria” in Milan. We also worked together for the Lerici steel industry. There was an extraordinary interaction with Ilio. L.A. The cultural influence of Ernesto Nathan Rogers was strong in the years you studied at the Milan Polytechnic. He influenced the cultural debate by establishing himself as one of the main personalities of the Milanese architectural scene through the activity of the BBPR studio but even more so through the direction of Domus (from ‘46 to ‘47) and Casabella Continuità (from ‘53 to ‘65). V.G. When I enrolled at the university he was not yet a full professor and he was very opposed. As you know, he coined the phrase: God created the architect, the devil created the colleague. In some ways it is a phrase that makes me rethink the words of Ernesto Che Guevara: beware of bureaucrats, because they can delay a revolution for 50 years. Rogers was the man of culture and the old “bureaucratic” apparatus feared that his entry into the University would sanction the end of their “domain”. L.A. In 1954, together with Giuliano Cesari, Raffella Crespi, Giampiero Pallavicini and Ferruccio Rezzonico, all graduating students of the Milan Polytechnic, you designed the staging of the exhibition on musical instruments at the 10th Milan Triennale. V.G. The project for the Exhibition of Musical Instruments at the Milan Triennale was commissioned by Rogers, with whom I subsequently collaborated for the preparation of the graphic part of the Castello Sforzesco Museum, together with Ilio Negri. We were given a very small budget for this project. We decided to prepare a sequence of horizontal planes hanging in a void. These tops also acted as spacers, preventing people from touching the tools. Among those exhibited there were some very valuable ones. We designed slender structures to be covered with rice paper. The solution pleased Rogers very much, who underlined the dialogue that was generated between the exhibited object and the display system. L.A. You graduated on March 14, 1957. V.G. The project theme that I developed for the thesis was the reconstruction of Piazza della Scala. While all the other classmates were doing “lecorbusierani” projects without paying much attention to the context, for my part I worked trying to have a vision of the city. I tried to bring out the specificities of that place with a vision that Ernesto Nathan Rogers had brought me to. I then found this vision of the city in the work of Giuseppe De Finetti. I tried to re-propose a vision of space and its “atmospheres”, a theme that Alberto Savinio also refers to in Listen to your heart city, from 1944. L.A. How was your work received by the thesis commission? V.G. It was judged too “formal” by Emiliano Gandolfi, but Piero Portaluppi did not express himself positively either. The project did not please. Also consider the cultural climate of the University of those years, everyone followed the international style of the CIAM. I was not very satisfied with the evaluation expressed by the commissioners, they said that the project was “Piranesian”, too baroque. The critique of culture rationalist was not appreciated. Only at IUAV was there any great cultural ferment thanks to Bruno Zevi. L.A. After graduation, you left for Venezuela. V.G. With my wife Wanda, in 1957 I joined my parents in Caracas. In Venezuela I got in touch with Paolo Gasparini, an extraordinary Italian photographer, Ricardo Porro and Roberto Gottardi, who came from Venice and had worked in Ernesto Nathan Rogers’ studio in Milan. Ricardo Porro worked in the office of Carlos Raúl Villanueva. The Cuban writer and literary critic Alejo Carpentier also lived in Caracas at that time. L.A. Carlos Raul Villanueva was one of the protagonists of Venezuelan architecture. His critical position in relation to the Modern Movement and the belief that it was necessary to find an “adaptation” to the specificities of local traditions, the characteristics of the places and the Venezuelan environment, I believe, marked your subsequent Cuban experience with the creative recovery of some elements of traditional architecture such as the portico, the patio, but also the use of traditional materials and technologies that you have masterfully reinterpreted. I think we can also add to these “themes” the connections between architecture and plastic arts. You also become a professor of Architectural Design at the Escuela de Arquitectura of the Central University of Caracas. V.G. On this academic experience I will tell you a statement by Porro that struck me very much: The important thing was not what I knew, I did not have sufficient knowledge and experience. What I could pass on to the students was above all a passion. In two years of teaching I was able to deepen, understand things better and understand how to pass them on to students. The Faculty of Architecture had recently been established and this I believe contributed to fuel the great enthusiasm that emerges from the words by Porro. Porro favoured mine and Gottardi’s entry as teachers. Keep in mind that in those years Villanueva was one of the most influential Venezuelan intellectuals and had played a leading role in the transformation of the University. Villanueva was very attentive to the involvement of art in architecture, just think of the magnificent project for the Universidad Central in Caracas, where he worked together with artists such as the sculptor Calder. I had recently graduated and found myself catapulted into academic activity. It was a strange feeling for a young architect who graduated with a minimum grade. At the University I was entrusted with the Architectural Design course. The relationships with the context, the recovery of some elements of tradition were at the centre of the interests developed with the students. Among these students I got to know the one who in the future became my chosen “brother”: Sergio Baroni. Together we designed all the services for the 23rd district that Carlos Raúl Villanueva had planned to solve the favelas problem. In these years of Venezuelan frequentation, Porro also opened the doors of Cuba to me. Through Porro I got to know the work of Josè Martì, who claimed: cult para eser libre. I also approached the work of Josè Lezama Lima, in my opinion one of the most interesting Cuban intellectuals, and the painting of Wilfredo Lam. L.A. In December 1959 the Revolution triumphed in Cuba. Ricardo Porro returned to Cuba in August 1960. You and Gottardi would join him in December and begin teaching at the Facultad de Arcuitectura. Your contribution to the training of young students took place in a moment of radical cultural change within which the task of designing the Schools was also inserted: the “new” architecture had to give concrete answers but also give “shape” to a new model of society. V.G. After the triumph of the Revolution, acts of terrorism began. At that time in the morning, I checked that they hadn’t placed a bomb under my car. Eisenhower was preparing the invasion. Life published an article on preparing for the invasion of the counterrevolutionary brigades. With Eisenhower dead, Kennedy activated the programme by imposing one condition: in conjunction with the invasion, the Cuban people would have to rise up. Shortly before the attempted invasion, the emigration, deemed temporary, of doctors, architects, university teachers etc. began. They were all convinced they would return to “liberated Cuba” a few weeks later. Their motto was: it is impossible for Americans to accept the triumph of the rebel army. As is well known, the Cuban people did not rise up. The revolutionary process continued and had no more obstacles. The fact that the bourgeois class and almost all the professionals had left Cuba put the country in a state of extreme weakness. The sensation was of great transformation taking place, it was evident. In that “revolutionary” push there was nothing celebratory. All available energies were invested in the culture. There were extraordinary initiatives, from the literacy campaign to the founding of international schools of medicine and of cinema. In Cuba it was decided to close schools for a year and to entrust elementary school children with the task of travelling around the country and teaching illiterate adults. In the morning they worked in the fields and in the evening they taught the peasants to read and write. In order to try to block this project, the counter-revolutionaries killed two children in an attempt to scare the population and the families of the literate children. There was a wave of popular indignation and the programme continued. L.A. Ricardo Porro was commissioned to design the Art Schools. Roberto Gottardi recalls that: «the wife of the Minister of Public Works, Selma Diaz, asked Porro to build the national art schools. The architecture had to be completely new and the schools, in Fidel’s words, the most beautiful in the world. All accomplished in six months. Take it or leave it! [...] it was days of rage and enthusiasm in which all areas of public life was run by an agile and imaginative spirit of warfare»2. You too remembered several times that: that architecture was born from a life experience, it incorporated enthusiasm for life and optimism for the future. V.G. The idea that generated them was to foster the cultural encounter between Africa, Asia and Latin America. A “place” for meeting and exchanging. A place where artists from all over the third world could interact freely. The realisation of the Schools was like receiving a “war assignment”. Fidel Castro and Ernesto Che Guevara selected the Country Club as the place to build a large training centre for all of Latin America. They understood that it was important to foster the Latin American union, a theme that Simón Bolivar had previously wanted to pursue. Il Ché and Fidel, returning from the Country Club, along the road leading to the centre of Havana, met Selma Diaz, architect and wife of Osmany Cienfuegos, the Cuban Construction Minister. Fidel Castro and Ernesto Che Guevara entrusted Selma Diaz with the task of designing this centre. She replied: I had just graduated, how could I deal with it? Then she adds: Riccardo Porro returned to Cuba with two Italian architects. Just think, three young architects without much experience catapulted into an assignment of this size. The choice of the place where to build the schools was a happy intuition of Fidel Castro and Ernesto Che Guevara. L.A. How did the confrontation develop? V.G. We had total freedom, but we had to respond to a functional programme defined with the heads of the schools. Five directors were appointed, one for each school. We initially thought of a citadel. A proposal that did not find acceptance among the Directors, who suggest thinking of five autonomous schools. We therefore decide to place the schools on the edge of the large park and to reuse all the pre-existing buildings. We imagined schools as “stations” to cross. The aim was to promote integration with the environment in which they were “immersed”. Schools are not closed spaces. We established, for example, that there would be no doors: when “everything was ours” there could not be a public and a private space, only the living space existed. L.A. Ricardo Porro recalled: I organised our study in the chapel of the former residence of the Serrà family in Vadado. It was a wonderful place [...]. A series of young people from the school of architecture came to help us […]. Working in that atmosphere, all night and all day was a poetic experience (Loomis , 1999). V.G. We felt like Renaissance architects. We walked around the park and discussed where to locate the schools. Imagine three young people discussing with total, unthinkable freedom. We decided that each of us would deal with one or more schools, within a global vision that was born from the comparison. I chose the Ballet School. Ivan Espin had to design the music school but in the end I did it because Ivan had health problems. Porro decided to take care of the School of Plastic Arts to support his nature as a sculptor. Gottardi had problems with the actors and directors, who could not produce a shared functional programme, which with the dancers was quite simple to produce. The reasons that led us to choose the different project themes were very simple and uncomplicated, as were those for identifying the areas. I liked hidden lands, I was interested in developing a building “embedded” in the ground. Ricardo, on the other hand, chose a hill on which arrange the school of Modern Art. Each of us chose the site almost instinctively. For the Classical Dance School, the functional programme that was provided to me was very meagre: a library, a deanery, an infirmary, three ballet classrooms, theoretical classrooms and one of choreography. We went to see the dancers while they were training and dancing with Porro. The perception was immediate that we had to think of concave and convex spaces that would welcome their movements in space. For a more organic integration with the landscape and to accommodate the orography of the area, we also decided to place the buildings in a “peripheral” position with respect to the park, a choice that allowed us not to alter the nature of the park too much but also to limit the distances to be covered from schools to homes. Selma Diaz added others to the first indications: remember that we have no iron, we have little of everything, but we have many bricks. These were the indications that came to us from the Ministry of Construction. We were also asked to design some large spaces, such as gyms. Consequently, we found ourselves faced with the need to cover large spans without being able to resort to an extensive use of reinforced concrete or wood. L.A. How was the comparison between you designers? V.G. The exchange of ideas was constant, the experiences flowed naturally from one work group to another, but each operated in total autonomy. Each design group had 5-6 students in it. In my case I was lucky enough to have Josè Mosquera among my collaborators, a brilliant modest student, a true revolutionary. The offices where we worked on the project were organised in the Club, which became our “headquarters”. We worked all night and in the morning we went to the construction site. For the solution of logistical problems and the management of the building site of the Ballet School, I was entrusted with an extraordinary bricklayer, a Maestro de Obra named Bacallao. During one of the meetings that took place daily at the construction site, Bacallao told me that in Batista’s time the architects arrived in the morning at the workplace all dressed in white and, keeping away from the construction site to avoid getting dusty, they transferred orders on what to do. In this description by we marvelled at the fact that we were in the construction site together with him to face and discuss how to solve the different problems. In this construction site the carpenters did an extraordinary job, they had considerable experience. Bacallao was fantastic, he could read the drawings and he managed the construction site in an impeccable way. We faced and solved problems and needs that the yard inevitably posed on a daily basis. One morning, for example, arriving at the construction site, I realised the impact that the building would have as a result of its total mono-materiality. I was “scared” by this effect. My eye fell on an old bathtub, inside which there were pieces of 10x10 tiles, then I said to Bacallao: we will cover the wedges between the ribs of the bovedas covering the Ballet and Choreography Theatre classrooms with the tiles. The yard also lived on decisions made directly on site. Also keep in mind that the mason teams assigned to each construction site were independent. However the experience between the groups of masons engaged in the different activities circulated, flowed. There was a constant confrontation. For the workers the involvement was total, they were building for their children. A worker who told me: I’m building the school where my son will come to study. Ricardo Porro was responsible for the whole project, he was a very cultured man. In the start-up phase of the project he took us to Trinidad, the old Spanish capital. He wanted to show us the roots of Cuban architectural culture. On this journey I was struck by the solution of fan windows, by the use of verandas, all passive devices which were entrusted with the control and optimisation of the comfort of the rooms. Porro accompanied us to those places precisely because he wanted to put the value of tradition at the centre of the discussion, he immersed us in colonial culture. L.A. It is to that “mechanism” of self-generation of the project that you have referred to on several occasions? V.G. Yes, just that. When I design, I certainly draw from that stratified “grammar of memory”, to quote Luciano Semerani, which lives within me. The project generates itself, is born and then begins to live a life of its own. A writer traces the profile and character of his characters, who gradually come to life with a life of their own. In the same way the creative process in architecture is self-generated. L.A. Some problems were solved directly on site, dialoguing with the workers. V.G. He went just like that. Many decisions were made on site as construction progressed. Design and construction proceeded contextually. The dialogue with the workers was fundamental. The creative act was self-generated and lived a life of its own, we did nothing but “accompany” a process. The construction site had a speed of execution that required the same planning speed. In the evening we worked to solve problems that the construction site posed. The drawings “aged” rapidly with respect to the speed of decisions and the progress of the work. The incredible thing about this experience is that three architects with different backgrounds come to a “unitary” project. All this was possible because we used the same materials, the same construction technique, but even more so because there was a similar interpretation of the place and its possibilities. L.A. The project of the Music School also included the construction of 96 cubicles, individual study rooms, a theatre for symphonic music and one for chamber music and Italian opera. You “articulated” the 96 cubicles along a 360-metre-long path that unfolds in the landscape providing a “dynamic” view to those who cross it. A choice consistent with the vision of the School as an open place integrated with the environment. V.G. The “Gusano” is a volume that follows the orography of the terrain. It was a common sense choice. By following the level lines I avoided digging and of course I quickly realized what was needed by distributing the volumes horizontally. Disarticulation allows the changing vision of the landscape, which changes continuously according to the movement of the user. The movements do not take place along an axis, they follow a sinuous route, a connecting path between trees and nature. The cubicles lined up along the Gusano are individual study rooms above which there are the collective test rooms. On the back of the Gusano, in the highest part of the land, I placed the theatre for symphonic music, the one for chamber music, the library, the conference rooms, the choir and administration. L.A. In 1962 the construction site stopped. V.G. In 1962 Cuba fell into a serious political and economic crisis, which is what caused the slowdown and then the abandonment of the school site. Cuba was at “war” and the country’s resources were directed towards other needs. In this affair, the architect Quintana, one of the most powerful officials in Cuba, who had always expressed his opposition to the project, contributed to the decision to suspend the construction of the schools. Here is an extract from a writing by Sergio Baroni, which I consider clarifying: «The denial of the Art Schools represented the consolidation of the new Cuban technocratic regime. The designers were accused of aristocracy and individualism and the rest of the technicians who collaborated on the project were transferred to other positions by the Ministry of Construction [...]. It was a serious mistake which one realises now, when it became evident that, with the Schools, a process of renewal of Cuban architecture was interrupted, which, with difficulty, had advanced from the years preceding the revolution and which they had extraordinarily accelerated and anchored to the new social project. On the other hand, and understandably, the adoption of easy pseudo-rationalist procedures prevailed to deal with the enormous demand for projects and constructions with the minimum of resources» (Baroni 1992). L.A. You also experienced dramatic moments in Cuba. I’m referring in particular to the insane accusation of being a CIA spy and your arrest. V.G. I wasn’t the only one arrested. The first was Jean Pierre Garnier, who remained in prison for seven days on charges of espionage. This was not a crazy accusation but one of the CIA’s plans to scare foreign technicians into leaving Cuba. Six months after Garnier, it was Heberto Padilla’s turn, an intellectual, who remained in prison for 15 days. After 6 months, it was my turn. I was arrested while leaving the Ministry of Construction, inside the bag I had the plans of the port. I told Corrieri, Baroni and Wanda not to notify the Italian Embassy, everything would be cleared up. L.A. Dear Vittorio, I thank you for the willingness and generosity with which you shared your human and professional experience. I am sure that many young students will find your “story” of great interest. V.G. At the end of our dialogue, I would like to remember my teacher: Ernesto Nathan Rogers. I’ll tell you an anecdote: in 1956 I was working on the graphics for the Castello Sforzesco Museum set up by the BBPR. Leaving the museum with Rogers, in the Rocchetta courtyard the master stopped and gives me a questioning look. Looking at the Filarete tower, he told me: we have the task of designing a skyscraper in the centre. Usually skyscrapers going up they shrink. Instead this tower has a protruding crown, maybe we too could finish our skyscraper so what do you think? I replied: beautiful! Later I thought that what Rogers evoked was a distinctive feature of our city. The characters of the cities and the masters who have consolidated them are to be respected. If there is no awareness of dialectical continuity, the city loses and gets lost. It is necessary to reconstruct the figure of the architect artist who has full awareness of his role in society. The work of architecture cannot be the result of a pure stylistic and functional choice, it must be the result of a method that takes various and multiple factors into analysis. In Cuba, for example, the musical tradition, the painting of Wilfredo Lam, whose pictorial lines are recognisable in the floor plan of the Ballet School, the literature of Lezama Lima and Alejo Carpentier and above all the Cuban Revolution were fundamental. We theorised this “total” method together with Ricardo Porro, remembering the lecture by Ernesto Nathan Rogers.