![]() Finally, it examines the most recent developments and projections for the future. Subsequently, it examines how the work of Llilian Llanes, director of the Lam Center and of the Biennale (1983-1999), shaped the event in structural and conceptual terms. It explores the role of critics and curators Gerardo Mosquera and Nelson Herrera Ysla, key members of the founding group of the Biennale. It examines the role Armando Hart Dávalos, Minister of Culture of Cuba (1976-1997), who played a key figure in the development of a solid cultural policy, one which produced the Havana Biennale as a cultural project based on an explicit “Third World” consciousness. This dissertation proposes that at the heart of the Biennale has been an alternative cosmopolitanism (that became an existential internationalism during the “contemporary” moment) embraced by a group of local cultural agents, critics, philosophers, art historians, and also supported by a network of peers around the world. ![]() The Wifredo Lam Center, created in 1983, has organized the Biennial since its inception. The Biennale is a product of Cuba’s fruition since the Revolution of 1959. It also has intensely debated the nature of recent and contemporary art from a Third World or Global South perspective. Since 1984 the Havana Biennale has been known as “the Tri-continental art event,” presenting artists from Latin America, Africa, and Asia. ![]()
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