Heterogénesis - Magazine of Visual Arts - 2006 nr 55-56
NINTH HAVANA BIENNIAL


Ramón Serrano (Cubal) Illusions - Installation - 2006
PHOTO: Ximena Narea




 




Ibis Hernández


After in 1989 at the Third Havana Biennial the articulating axis of the general discourse the event should adopt became for the first time a matter of reflection, it has been difficult for us organizers to escape from a thematic scheme(1). Perhaps the eighth edition, ope-ning in November of 2003, succeeded in tightening at least in one of its nuclei, the supposed limits of such a model, when under the label of Art with life we tried to distinguish some of the operations that demonstrate such conjunction rather than precise narratives around the subject. Collective projects such as Isaroko, Mover las cosas, 30 Días de acción (of the Department of Public Interventions), or proposals such as those of Daniel Lima, BIJARI, the ENEMA collective, and the Grupo Nómada, gave an account of it. In parallel, and according to the already traditional scheme, other works – original, as well as recurrent in the event at the Fortress of San Carlos de la Cabaña– dealt with very diverse subjects, from the ample and comfortable perspective of the universe of relations established between art and life.

Some time later, just in the time when the dialog aiming at conceiving and designing the Ninth Biennial started, some of the curators became interested in the idea of continuing to develop the possibilities of insertion of the event in the physical and social cartography of the city, which lead them to think on the convenience of planning workshops that would propitiate that Cuban and foreign artists and designers worked together, in close contact with sectors of the population of the City of Havana. The workshops would be conceived taking in mind, on the one hand, local needs of urban nature and, on the other hand, problems of artistic-cultural nature, whose conflictive knots would once again be loosened or tighte-ned through the groupally-generated discussions and actions. But except for the alternative clothes workshop, coordinated by guest curator Pedro Contreras, no other took place or even went past the planning stage, because of the lack of the essential minimum budget in some cases, and in others, because accomplishing it required, as an old colleague of the team said some time ago, involving many and sensitizing everybody, which is not always possible.


Elder Santos (Brasil) Instalación 2006
PHOTO: Ximena Narea

Thus, the workshop on urban furniture was a failure –its purpose had been to discuss the relations between sculpture and design of furniture as a matrix, and to invite several artists from in the sculpture field who had explored the possibilities of this type of objects, to produce scale models and prototypes of viable projects for our restricted production context, to be installed –perhaps– in public spaces of Havana City. Another of the workshops was to be related to the popular, abundant and varied feasts in most of the countries participating in the Biennial. In its latest editions, some voices had mentioned the distance of the event with respect to the expressions of popular culture, previously exhibited without false complexes side to side with contemporary formulations that refer to or start from its codes and procedures(2). It would not make sense now to go as far back as to issues such as wire toys and Mexican rag-dolls, or to retake the thesis of cultural appropriations and inter-crossings(3), but it did seem attractive to explore the renewal behavior of many of the expressions that are part of the urban culture at the present time, some of which can find in the carnival an agglutinin support. Thus the idea surged of linking the workshop with the Havana carnival, preserving the best and modifying, with constructive vocation, ideas and stereotypes that result in the impoverishment of the visual characteristics of such yearly celebrations. It was interesting, for example, to retake experiences like the one undertaken by the Cubans Omarito and Duvier in the Parrandas de Remedios, and to give part to architects, designers and craftsmen in what would become a laboratory sustained in the today almost abandoned belief of the transforming capacity of art, antipodal to disillusion and indifference.

Close to the former, regarding to the possibility of tending bridges towards the popular culture and of bringing artists, anthropologists and practitioners of various disciplines together, a workshop was conceived focusing on designing and making toys and other objects as a form of play, with the added participation of children and adolescents. At the same time, it was intended to explore the behavior and the transformations of the artisan-made toys, incorporating modern materials and urban references for the elaboration of new prototypes, while fighting to maintain a place within the market of practical and symbolic goods.

The fifth workshop was conceived with the aim of provoking a discussion on the various modalities of projects for social insertion through art, as well as the reciprocal acquaintance of experiences developed by artists who live and work in different contexts and circumstances. The challenge was to make this workshop work, as much from the theoretical as from the practical point of view, taking into account that the development of an effort of articulation with communities demands of the artist to venture into and to apprehend the local surroundings, which requires of a period of permanence in the field, which in turn requires of some financing (this planted beforehand the seed of doubt with respect to its possibilities of real concretion). Such space would facilitate, in principle, the debate on questions of ethical, aesthetic, educative and practical-functional character, largely decisive for the degree of effectiveness of this type of projects and, as well, it would invite to reflect upon the (in)convenience of its juxtaposition to the structures of Biennials and other curatorial initiatives, ta-king into account that these practices generally question the limits of art as an institutionalized exercise and that its viability, in these cases, is proportional to budgets, authorizations and even commitments that could favor or limit the spontaneous unfolding of many processes. Several reasons caused this idea to dematerialize before it got to be objectivated in a workshop: the field investigations were this time very limited in Africa and no curator could reach Asian regions, where it would have been necessary to esta-blish the existence of such practices and the ways in which they are articulated and manifested, in order to later determine whether they can or cannot be understood by the same keys by which they are interpreted in the West; likewise, it was not at all clear whether there was a budget that guaranteed the (obviously essential) attendance of the participants, nor the communication with a Cuban artist wishing to be appointed coordinator of the workshop was effective.


Margarita Pineda (Colombia): Mental territories.
PHOTO: CENTRO WIFREDO LAM PUBLICATIONS STAFF

 

Besides dislocating the traditional structure, these workshops could be opened as potential nuclei to unlimited practical possibilities, connecting to each other and establishing links with the theoretical core of the Biennial, whose agenda did not lack topics that would have been of common interest. By this time, the processes of creation and exchange would have a more relevant role, the practical aspects would displace the expositive to a greater extent, and it would be attempted to give continuity to a process of interaction with the city already undertaken on previous editions(4). Nevertheless, it would be worth asking oneself to what extent, by this method, the Biennial would have assumed a confined position in a dangerous –in some ways, exclusive– localism, hardly interacting at all with the Havana context, or if, on the contrary, whenever giving up this structure of laboratory-workshop, it made equal sense to return to explore urban aspects closely bound to the subject of the city, recurrent in multiple curatorial proposals during the last decade(5). A possible answer to the second question could be seen between the March 27th and April 27th of this year at the Fortress of La Cabaña and other spaces occupied by the event... although it is worth to notice that there were other alternatives.

After all, the Biennial carried out only one of its workshops and the exhibitions perpetuated its primacy, having as an articulating nucleus the one announced as Dinámicas de la cultura urbana [Dynamics of urban culture]. From the beginning, some curators were shure of being able to offer a renewed point of view about this topic –and beyond the workshops– in relation to other international shows such as Iconografías metropolitanas(6), or national ones like Ciudad, metáfora para un fin de siglo(7); others among us, however, suscribed to the idea with a certain measure of skepticism. The differing note allegedly consisting on that here, the emphasis no longer would fall upon everything regarding the urban in its dynamics, but, particularly on the culture being born, developed and transformed within the urban territories and their peripheral areas.

As I see it, it would have been essential to fix beforehand –in order to orient the search in methodological terms– the perspective(s) from which we would approach the notion of urban culture, considering that it has been approached in different ways by anthropo-logy, sociology and more recently, by cultural studies; and from that perspective, to discuss in greater depth to what extent this complex notion, that integrates multiple dimensions and repertoires, could act as a thematic-conceptual axis in the work of professional artists: “to see itself staged”; or if, on the contrary, the Biennial had to concentrate its attention on proposals oriented to fulfill an urban function, whose constitution overlapped itself in the intricate weave of relations coming to life in the city, in interaction with the culture that developing there, exposed to constant processes of contamination and hybridization. I talk about, for example, proposals developed not necessarily from spatial circumstances, but about those sites where the interests of various disciplines converge, thus emer-ging more experimental and analytical repertoires, or about projects with incidence on complex urban situations, that shed light on marginalized social groups and expressions discarded by the dominant culture, to mention only two examples.


C. Jancowski (Mexico-Germany): AGUA WASSER
PHOTO: Ximena Narea


We also know that the selection of a subject of reflection, able to be coherently elevated as an articulating guideline of the discourse of an exhibition, is determined in the first place by its endorsement by the organization. Reviewing processes concerning passed editions, I remember how after elucidating in a group an interesting subject –often controversial and with sufficient potential as to support counter-discourses postulated from the South– the way was paved for the ne-cessary exercise showing an approximated measurement of its practical feasibility, through the study of the archives and, even, of what had been exhibited in previous editions of the event. In this occasion, with equal intention and following custom, some names were thrown on the table of discussion as previous training to the search in situ, although, in my opinion, the exercise was not taken up to a fully enlightening point. And in effect, shortly after, during the revision of the material gathered after investigations conducted in a limited number of countries, or by the means of the Internet and electronic mail, it was noticed that it is not precisely the nexus with the Dynamics of urban culture that best potentiates the contemporary production of the regions involved in the Biennial or, at least, the one with limited resources that can arrive in Havana(8). It was thus how the span of the selection criteria had been wi-dened, now in a definitive way, towards other parcels of the urban field.

From the above, it could be inferred that, although during the discussions previous to the process of selection of guests, some of the guidelines of whatever could be placed in the area one of the “Dynamics...”, lacked clarity on the matter. It is not less certain that during the field research, the notion at issue tends to expand and, in direct connection with praxis, new sources not a priori identified by the curators can be detected; the knowledge of the context where the artist creates allows to state how, what at a distance could seem irrelevant, can contribute with other meanings and become data that reveals cultural specificities. However, it becomes essential to distinguish from the preliminary dialogs (above all, when one attempts to focus a subject from new angles) what, because already explored or overstated, must be immediately discarded. Let us say, for instance, that at the Fortress of the Cabaña, considerable segments of the exhibition showed, through photography and to a lesser extent through video and painting, fragments of urban landscapes focused on the architectural and physical particularities of some cities. I am not going to stop here to analyze to what extent what was included in them could be considered as the vanishing lines of the ge-neral subject, which was, after all, assumed by the curators, but the uncomfortable reiteration could not even be justified as a conscious alert –emitted by the curators– about a phenomenon related to fashion and to the interests of the market –something well-known already(9)–, nor under the argument referring to the vindication and actualization of a traditional genre (landscape) based on the use of “new” means –which would be another self-evident truth. An opportune selection would have avoided unjustified re-incidences, and at the same time granted greater visibility to the better elaborated proposals: those that revealed, at least, more subjective relations of the individual with his surroundings(10).




Pedro Abascal (Cuba): Labyrinth, photographic installation - 2006
PHOTO: ARCHIVO CENTRO WIFREDO LAM
 

On the other hand, the label “Dynamics...” had created without doubt expectations as far as the pre-sence of a public art developed according to the ideas of coexistence and participation, suitable to mobilize the city around it and to again place the artistic within a framework of wider sociocultural relations –highlighted by Modernity as an independent entity–. Although experiences of this character weren’t scarce, I must admit that they were present in insufficient numbers, and not all of them did attain the degree of ideo-aesthetic consistency that would have granted them a considerable resonance in our metropolitan space(11). In parallel, and agreeing with “the Third-World” vocation of the event expressed among its founding precepts, it should no longer contemplate actions undertaken in Havana, but in other cities of the South, for the sake of underscoring the behaviors of these practices when they are projected from the specificities of other contexts. The transfer of such experiences to an exhibition of the scope of a Biennial usually takes place through registries documenting the processes by means of the use of photo-graphies, videos, texts, objects, etc. Facing isolated proposals of this kind, the curators showed a certain reluctance during the process of selection, taking into account that not always this documentation is attractive from the aesthetic point of view and this, sometimes together with the scarcity of information and other times with a careless design of the exhibition, lead to a decrease of its communicative capacity and, consequently, to the boredom of the spectators. Thus, among the few selected registries we could consider Oferta de empleo, of Álvaro Ricardo Herrera (Colombia) and those corresponding to Agua-Wasser (Mexico) and to Territorio Sao Paulo(12) (Brazil).




Jordi Colomer (Spain): Anachitekton (Osaka). Photography - 2004
PHOTO: ARCHIVO CENTRO WIFREDO LAM
 

Besides, as it could be noticed, the balance shifted this time in favor of photography and video, which was noticeable in the prevailing disposition of the Fortress of San Carlos de la Cabaña. Previously, and especially from the Third Biennial (1989), installations had been gaining presence within the the event, strengthening their protagonism in the fifth edition (1994). Some interested people started to wonder at that time whether the predominance of this support obeyed to programmatic aims of curators. In fact, the conditions of self-reflectiveness proposed by the Biennial in each edition, used to materialize in neoconceptual proposals based on this grammar, thereof its preeminence. It was during the Fourth Biennial (1991) when the Fortress of the Tres Reyes del Morro was used for the first time as an exhibition space and soon, in the fifth, the event extended to La Cabaña. The huge dimensions, the stony and forceful character, and the memory load these spaces hold, usually causes a strong impression on the foreign artists arriving to exhibit, even though they beforehand received plans and photographies of them. Difficult to “domesticate”, and non-susceptible to become neutral containers as a docile “white cube”, they behave in a more benevolent –and even favorable– way, when lodging works of installation profile involving the empty space into the structure of the artistic object, but “swallow” or tend to turn almost invisible bi-dimensional works of small and medium size. Their use demand, therefore, a careful museistic design and certain conditions of display(13).

This time, some spaces remained half-empty, unba-lanced, and the faults in the museography accentuated the irregular character of the selection. Besides doing without the construction of thematic nuclei, except with limited exceptions, neither the dialog nor the efficient counterpoint between works functioned, as neither did opportune solutions in order to avoid the unnecessary dispersion –all things which would have mitigated, to a certain extent, the sensations of po-verty and imbalance. There was in all of that a quota of responsibility concerning the curators, in addition to the delayed arrival of works, the material absences at the last hour, and the material limitations above described(14); add to this the ones pertaining to those in charge of deciding upon the emplacement and – by the way –of the permanence time of some works in the urban space.(15)


Roberto Stephenson (Haiti): No title, digital impression. - 2004
PHOTO:
ARCHIVO CENTRO WIFREDO LAM
 

Going back in time, I would say that already the sixth Biennial in 1997 sent the first intermittent signals about the necessity to rethink the structure of the event. Incipient attempts of transformation have taken place in the successive editions with partial results, achievements and errors; but the ninth edition rang the alarm like no other, emphasizing that urgent and vital necessity of renovation. For it, it will be essential to contemplate not only aspects concerning the structure and the regularity of the model, but to review its intentions and projection according with the complexity of the changes that have taken place in the world-wide geopolitical map, the national and international artistic scene, and the demands and operating exigencies of new means, languages and ways of operationalization; all that, without losing sight of the restrictions that the accomplishment of an international Biennial implies from our own here and now: that is the challenge. Through the years we have received very objective criticisms –which we always receive gratefully– as well as judgments that denote a superficial approach to the art of the regions that the Biennial focuses on, and an ignorance or underestimation of the conditions under which it takes place. The present circumstances are not the same ones that caused the irruption of the event in 1984, as the interests to conciliate are not the same either. To project utopias never was the most difficult thing to do –the greatest challenge lies in making it viable to attain their materialization. In this way, any criticism or suggestion is welcome.

NOTES
1 The Third Biennial of Havana was articulated around the coordinates Tradition and contemporaneity. It is worth to explain that the interest was in no way focused on emphasizing a notion of constructed cultural identity only from the perspective offered by this polarity – a reductionistic criterion that would have only entailed the construction of a pseudo-identity. Rather, the event called upon the attention of one of the multiple characteristics qualifying a significant area of the contemporary production of the countries of the so called Third World.
2 In the Third Biennial, whose subject was Tradition and contemporaneity, as mentioned above, the exhibitions Juguetes de alambre africanos, Bolívares en talla de madera and Muñecas mexicanas, among others, caused the connivance in a “legitimizing space”, of sophisticated works emanated of the so-called cultured art, with living expressions of popular art (not forgetting others that have arisen from the contamination of both registries), thus marking its stance in this debate. With similar intentions, the exhibition Arte del Pueblo de Weifang, which reunited an important collection Chinese kites, was sown at the IV Biennial.
3 Apropiaciones y entrecruzamientos were one of the five nuclei of exhibitions that under the general subject Art, society and reflection, were presented at the Fifth Biennial of Habana in 1989. The show did not exalt those works that resort to the quote, the paraphrase, the parody, and to postmodern variations of Art History’s masterpieces, but proposals where connections between groups of symbolic production of diverse sign co-exist in the Asian, African and Latin American countries. This exhibition reunited works that reflected an interest in expanding the limits of the potentially adaptable, establishing conscious and unbiased, nexuses of differentiated nature between the traditional and local popular culture, the referents of primitive and pre-Hispanic cultures, the lexicon that emanates of the mass media and the symbolics associated to the market.
4It is important to point out that this would not be the first time that the Biennial would call for the participation in workshops, although in this opportunity they would play a wider and more protagonic role within the general structure of the event, no longer because of the number of workshops, but because they would attract a very significant portion of the list of guests. For more information on the workshops carried out in previous editions, see the catalogs of the Third and Fourth Biennials.
5 In fact, not only the city has confirmed its presence as a subject in exhibitions, but also the urban itself, if we considered that, according to the distinction established by Henri Lefebvre ...the city [ is ] present, immediate reality, practical-sensible, architectonic data and, on the other hand, the ‘urban’ [ is ] social reality composed of relations constructed or reconstructed by thought (quoted by Celia Ma. Antonacci in Grafite, Pichação & Cia São Paulo: ANNABLUME, 1994, p. 31).
6 Metropolitan iconographies was the subject of the XXV Biennial of São Paulo in 2002. Its curator, Alfons Hug, said about it that ...it hardly refers to the image of the metropolis in contemporary art, but also to the way by which the currents of urban energy influence the work of contemporary artists, among other topics (Hug, Alfons. “XXV Bienal de São Paulo”. Revista del Instituto Arte das Américas, no. 1, July-December 2003)
7 Ciudad, metáfora para un fin de siglo, functioned as an articulating axis of the II Salon of Contemporary Cuban Art celebrated in 1998, under the curator Caridad Blanco and organized by the Center of Development of the Visual Arts of Havana.
8 More ambitious, powerful and actually more oriented along such a path, projects like Caja lúdica (Guatemala), Nortec (Mexico) and Territorio São Paulo (Brazil), could not participate due to financial limitations. The Nortec group, for example, fuses in its presentations multimedia, typical electronic northern and band music, videoclips, graphical and fashion design, and expressions of the visual arts in general, to develop a production immersed in the reality of the border between Mexico and the US, revealing the crossings and transferences that are part of the weave of the urban culture in that enclave. Territorio Sao Paulo, on the other hand, was the name given to a project designed specially for the Biennial of Havana by twelve art groups that work in the streets of the Brazilian city: Cia. Cachorra, C.O.B.A.I.A., Bijari, Contra Filé, TRancaRUa, etc. In general, their actions promote the reflection upon urban situations related to violence, exclusion, and the operations of “social hygiene” of downtown areas, the excesses of real estate and the processes of gentrification, among other subjects. They use tools from other disciplines like the anthropology, sociology and demography; resources from music, the scenic arts, literature and the audio-visual; and codes and strategies from social activism and the mass spectacle, synthesized at a higher level of symbolic elaboration.
9 Artists such as the Germans Thomas Ruff and Günter Förg, as well as the French Jean-Marc Bustamante, are between the initiators of this fashion in the 90s, which has circulated and gained adepts in different latitudes.
10 Beyond the tautological character of the collection exhibited at La Cabaña, certain successes could be perceived, however, through precise proposals, such as Arquitectura del vacío by Javier Camarasa (Canary Islands), who through an intelligent plastic solution (a fine neon light fragmented in two the projection screen as a line dividing and ordering time) juxtaposed two video recordings of the same territory, taken in different stages, to signify the devastating avalanche of real estate tourism-related enterprises on a virgin nature, now turned into the background of motley architectonic complexes. Anarchitekton (four simultaneous projections) by Jordi Colomer (Spain), showed the form in which the culture of marketing puts its mark on the architecture in Osaka up to the point of annulling it, or how the inhabitants of Brasilia draw up, with their everyday transit, the functional caminhos do desejo not projected by Lucio Costa in the Pilot Plan of that city (among other commentaries). In addition, it is worth to mention the work of Michel Najjar, which glimpses the effect of Telematics in the iconic representation of the landscape of the future. Less attached to architectonic references, other photographic proposals were dedicated to emphasize new elements integrated into the physical and social landscape of large cities, but in many cases by paths already worn out by photography, or without excellent aesthetic results. In an opposed sense to this evaluation, the collection of digital photos by Stephenson Robert (Haiti) would stand out, which depicts, together with the deteriorated architecture of some areas of Port au Prince, the ethnic and psychological profile of some of its inhabitants, in close relation with an everyday life of precarious and multitemporary character; or Laberinto, by Pedro Abascal, that associates to Walter Benjamins idea of the city as an ...accomplishment of the old human dream of the labyrinth, treated here from the non-distinction between image and reality, in the fragmented visual landscape of the contemporary large city.
11 Beyond the tautological character of the collection exhibited at La Cabaña, certain successes could be perceived, however, through precise proposals, such as Arquitectura del vacío by Javier Camarasa (Canary Islands), who through an intelligent plastic solution (a fine neon light fragmented in two the projection screen as a line dividing and ordering time) juxtaposed two video recordings of the same territory, taken in different stages, to signify the devastating avalanche of real estate tourism-related enterprises on a virgin nature, now turned into the background of motley architectonic complexes. Anarchitekton (four simultaneous projections) by Jordi Colomer (Spain), showed the form in which the culture of marketing puts its mark on the architecture in Osaka up to the point of annulling it, or how the inhabitants of Brasilia draw up, with their everyday transit, the functional caminhos do desejo not projected by Lucio Costa in the Pilot Plan of that city (among other commentaries). In addition, it is worth to mention the work of Michel Najjar, which glimpses the effect of Telematics in the iconic representation of the landscape of the future. Less attached to architectonic references, other photographic proposals were dedicated to emphasize new elements integrated into the physical and social landscape of large cities, but in many cases by paths already worn out by photography, or without excellent aesthetic results. In an opposed sense to this evaluation, the collection of digital photos by Stephenson Robert (Haiti) would stand out, which depicts, together with the deteriorated architecture of some areas of Port au Prince, the ethnic and psychological profile of some of its inhabitants, in close relation with an everyday life of precarious and multitemporary character; or Laberinto, by Pedro Abascal, that associates to Walter Benjamins idea of the city as an ...accomplishment of the old human dream of the labyrinth, treated here from the non-distinction between image and reality, in the fragmented visual landscape of the contemporary large city the Portal del Cine Yará, in Havana. Located just in between art and anthropology, its collection consists of voluntary donations of people that live or temporarily visit the sites where it is located, and translates, in the words of “its guardians”, the spirit of the barrio that welcomes it. Margarita Pineda (Colombia) on the other hand, walked through markets, squares and other anodyne sites of the city, attempting in her exchanges with the the passer-byes, the emergency of new maps based on practices and daily rituals enrolled in the urban experience, outlining rather subjective territories, not determined by geography or politics.
12 Oferta de empleo was a project developed in the Mexico City during a two-year stay of the artist. Its presentation in Havana landed halfway between a work of author and a record, without managing to transmit with clarity all the stages and actions of the process. Agua - Wasser, however, conveyed the real dimension of a collective project made in the same City, through a moderate and properly designed version by the curators Edgardo Ganado and Daniela Wof, which included photographies, vi-deos, texts, scale models and other registries on facilities and interventions made in public whose past and/or present have a relation with water, an element that marks the cultural history of a lake city today turned one into a dried metropolis.
13 In the V Biennial, for example, even though most of the exhibited works at the Fortresses of the Morro and the Cabaña had not been conceived as interventions on the architectonic space, the facilities showed effectiveness as far as the handling of the space and to the advantageous use of their intrinsic qualities in the search of certain effects. It even happened that the dramatic aura and the communicative force of some of those works, notably decreased when they were exhibited later at the Ludwig Museum in Aachen, as it was perceived by colleagues who were involved in the assembly work.
14 As I explained before, financial difficulties caused critical absences in this Biennial, such as the those related to the above mentioned projects Caja Lúdica, Territorio Sao Paulo, etcetera, and to the participation of Brazilian, African and Asian artists. Likewise, such difficulties prevented the production and/or transportation of some works, which ended up being replaced by others, or being exhibited in poorer and inconsistent versions, thus causing the above mentioned disadjustments.
15 The disagreements around the temporary permanence of Havana Gold of the FA+ duo, and the location of the sculpture of Reynerio Tamayo demonstrate a lack of understanding on the form in which some contemporary practices operate. The golden patina imposed by FA + to preterit elements of the urban surroundings, with the purpose of giving them class in the distracted or hurried eyes of the city dweller, was covered with black painting just a short time after it had been applied, and the sculpture of Tamayo, conceived for the confrontation with its referent on the road where vehicles circulate, was confined to one of the gardens of the Cabaña and exhibited as a conventional sculpture.

 

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