Queloides
This article includes a list of general references, but it lacks sufficient corresponding inline citations. (April 2013) |
Queloides is an ongoing cultural and curatorial project in
The main purpose of these exhibits was to initiate a public conversation around topics that had been taboo in Cuban public spaces for decades. As Alexis Esquivel (2005) explained, “I, as well as other colleagues had many questions and concerns about racial prejudice in Cuba, and I was convinced that through art we could express a valuable and instructive point of view... In Queloides we paid attention to… a non-romanticized vision of the daily existence of Cuban blacks… The artists focused on the black person as a marginalized individual faced with economic disadvantages, traumas, and self reflection.”[1]
Although these were groundbreaking cultural events that addressed issues of race and discrimination in Cuban society, they received very little coverage in the Cuban press and were quickly forgotten. In 2010 historian Alejandro de la Fuente and artist Elio Rodríguez Valdés organized a new edition of the exhibit, titled Queloides: Race and Racism in Cuban Contemporary Art. This exhibit opened at the Centro
Referring to Queloides: Race and Racism in Cuban Contemporary Art, literary scholar Ana Belén Martín-Sevillano (2011) has written: "The impact of the Queloides sequence in the cultural field has made the term synonymous with the racial debate in Cuba. Designed with a comprehensive and inclusive view, one of the exhibit's major achievements has been to include representative artwork that covers the diverse array of techniques and strategies used in contemporary Cuban art to address the complexity of the cultural and social processes of
Sources
de la Fuente, Alejandro (2008). "The New Afro-Cuban Cultural Movement and the Debate on Race in Contemporary Cuba," Journal of Latin American Studies 40:4 (November), 697–720.
de la Fuente, Alejandro, ed (2011). Queloides: Race and Racism in Cuban Contemporary Art. Pittsburgh: Mattress Factory.
Casamayor Cisneros, Odette (2011). "Queloides: Inevitables, Lacerantes. En torno a la exposición Queloides: Raza y Racismo en el Arte Cubano Contemporáneo," Artecubano 2:22-26.
Esquivel, Alexis (2005). “Queloide, la cicatriz dormida (Keloid, the Dormant Scar),” in Judith Bettelheim, Afrocuba Works on Paper 1968–2003. San Francisco: San Francisco State University.
Fernandes, Sujatha (2006). Cuba Represent!: Cuban Arts, State Power, and the Making of New Revolutionary Cultures. Duke University Press.
Martín-Sevillano, Ana Belén (2011). "Crisscrossing Gender, Ethnicity and Race: African Religious Legacy in Cuban Contemporary's Women's Art," Cuban Studies 42:136-54.
Footnotes
- ^ Alexis Esquivel, “Queloide, la cicatriz dormida (Keloid, the Dormant Scar),” in Judith Bettelheim, Afrocuba Works on Paper 1968–2003. San Francisco: San Francisco State University, 2005, p. 17
- ^ "Cuban art exhibit at Mattress Factory winning accolades". Pittsburgh Gazette. February 18, 2011. Retrieved April 5, 2013.
- ^ Mary Thomas weighs in on the years best art [dead link]
- ^ Ana Belén Martín-Sevillano,"Crisscrossing Gender, Ethnicity and Race: African Religious Legacy in Cuban Contemporary's Women's Art," Cuban Studies 42 (2011), p. 137