Jimena Codina Gonzalez.

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The purpose of this thesis was to explore how alchemy has influenced Carlos Estevez’s work through a study of the symbolic repertoire and the philosophical concepts associated with it in his art, particularly how these are expressed in his artworks and how alchemy has evolved thematically in his oeuvre. The study of alchemy influenced this artist so deeply that even pieces that were not primarily inspired by this philosophical system show traces of it, essentially by representing the concept of transformation, crucial to understanding the alchemical process. This thesis is based on Carl Gustav Jung’s idea of metaphysical transformation as one of the main aspects of alchemy, and on his theory of active imagination as a tool to represent thoughts through artworks. Alchemy transformed Estevez’s art, and by extension the way he approaches life, making him conscious of the importance of transmutation and alchemical concepts.

In the centuries since the colonization of the New World, the people of Cuba created a strong musical tradition. Initially, their music mirrored the European composition canons of structural, melodic and harmonic order. The eventual confluence of its distinct cultural elements (i.e. the European, African, and, to a lesser extent, Amerindian) led to the emergence of a new, distinctly Cuban musical tradition. The wars for independence that began in the United States and Europe in the eighteenth century created a surge towards political and cultural autonomy that swept across the Latin American colonies, generating a wave of nationalism during the nineteenth century. After finally gaining its independence in 1902, Cuba sought to define itself as a nation. Cubans looked inward to their regional folklore—their indigenous and popular traditions—for the source of their national identity, a trend that became of primary interest to Cuban artists. The nationalist trend found full musical expression during the twentieth century, when composers turned to folklore for their inspiration in creating new art music (works for the concert hall) with a unique sound and vitality. This study concerns itself with the Cuban nationalist movement and its role in the creation of art music by twentieth-century Cuban composers, most specifically that of Mario Abril. The monograph is organized into three general sections: the first section (Chapters 2 and 3) identifies the significant characteristics of nationalism, describes the manifestation of some relevant nationalist movements (e.g., in Europe and Latin America), and explores the manifestation of the nationalist movement in Cuba. The second section (Chapters 4 and 5) provides a history of Cuban art music, concluding with a biographical sketch of composer Mario Abril. The third part (Chapters 6 and 7)consists of a study of the music, beginning with a description of the pertinent characteristics of Cuban popular music, followed by an examination Mario Abril’s Fantasía (Introduction and Pachanga) for clarinet and piano. The document concludes with remarks about the characteristics that qualify the work as an example of Cuban nationalist art music with suggestions for the study and interpretation of the work.

[ES] En esta investigación analizo como a partir de 1984, en el panorama de las artes visuales cubanas, entra en escena una nueva generación que, desde la práctica artística, jugó con las estructuras estéticas y conceptuales que sustentas al objeto artístico y, desde ahí, logró abrir un debate que problematizó temas tabúes como la identidad nacional, el trato a la figura de los héroes, el humor, la religiosidad popular, la ideologización de la cultura, entre otros; que fueron percibidos por las instituciones oficiales como amenaza a la hegemonía narrativa del Estado, que desde el triunfo de la revolución en 1959 se propuso domesticar a los artistas e intelectuales. Sentencias como "con la revolución todo, contra la revolución nada" definieron el derrotero de la política cultural cubana, volviéndose progresivamente más represiva hasta la llegada de los años 80, periodo en el que hubo una leve relajación, oportunidad que aprovecharon los artistas jóvenes para abrir el arte cubano a tendencias internacionales. En la medida que avanzó la década, los artistas jóvenes se fueron alejando de la utopía ideológica convertida en ideología de masas, esforzándose por mantener su autonomía y capacidad crítica en un entorno altamente controlado, dando lugar intersecciones complejas entre arte y política. Los artistas jóvenes desarrollaron proyectos colectivos y cooperativos que crearon espacios artísticos independientes, investigaciones sociológicas participativas y el performance emergió como una estrategia privilegiada, que permitió llevar el arte directamente al público, evadiendo la censura estatal. Estos proyectos ampliaron el alcance del arte, transformaron a los espectadores en participantes y redefinieron la relación arte y la sociedad cubana. La politización del arte impuesta por el Estado trajo como consecuencia que todo arte que se produjo en Cuba se interpretara en clave política, ya sea de manera activa o pasiva. Esto condujo a las autoridades a creer que los jóvenes -nacidos y educados en la Revolución- no estaban comprometidos con el sistema. A pesar de su compromiso inicial con la Revolución, muchos artistas experimentaron censura y persecución; de este modo, la Revolución convirtió a su "potencial hombre nuevo" en el artista disidente y volvió a las tácticas represiva de las dos décadas anteriores, recrudeciendo la censura, persiguiendo y encarcelando a los artistas y, por último, empujándolos al exilio. / [CA] En aquesta investigació analitze com, a partir de 1984, en el panorama de les arts visuals cubanes, entra en escena una nova generació que, des de la pràctica artística, va jugar amb les estructures estètiques i conceptuals que sustenten l'objecte artístic i, des d'ací, va aconseguir obrir un debat que problematitzà temes tabús com la identitat nacional, el tracte a la figura dels herois, l'humor, la religiositat popular, la ideologització de la cultura, entre altres; que foren percebuts per les institucions oficials com a amenaça a l'hegemonia narrativa de l'Estat, que des del triomf de la revolució en 1959 es proposà domesticar els artistes i intel·lectuals. Sentències com "amb la revolució tot, contra la revolució res" definiren el rumb de la política cultural cubana, tornant-se progressivament més repressiva fins a l'arribada dels anys 80, període en el qual hi hagué una lleugera relaxació, oportunitat que aprofitaren els artistes joves per a obrir l'art cubà a tendències internacionals. A mesura que avançà la dècada, els artistes joves s'anaren allunyant de la utopia ideològica convertida en ideologia de masses, esforçant-se per mantindre la seua autonomia i capacitat crítica en un entorn altament controlat, donant lloc a interseccions complexes entre art i política. Els artistes joves desenvoluparen projectes col·lectius i cooperatius que crearen espais artístics independents, investigacions sociològiques participatives i la performance emergí com una estratègia privilegiada, que permeté portar l'art directament al públic, evitant la censura estatal. Aquests projectes ampliaren l'abast de l'art, transformaren els espectadors en participants i redefiniren la relació art i la societat cubana. La politització de l'art imposada per l'Estat portà com a conseqüència que tot art que es produí a Cuba s'interpretara en clau política, siga de manera activa o passiva. Això portà les autoritats a creure que els joves -nascuts i educats dins la Revolució- no estaven compromesos amb el sistema. Malgrat el seu compromís inicial amb la Revolució, molts artistes experimentaren censura i persecució. Consegüentment, la Revolució convertí el seu "potencial home nou" en l'artista dissident i tornà a les tàctiques repressives de les dues dècades anteriors, intensificant la censura, perseguint i empresonant els artistes i, finalment, empenyent-los a l'exili. / [EN] In this research, I analyze how, starting in 1984, a new generation entered the Cuban visual arts scene. Through artistic practice, this generation played with the aesthetic and conceptual structures that underpin the artistic object. In doing so, they initiated a debate that problematized taboo topics such as national identity, the treatment of heroic figures, humor, popular religiosity, and the ideological aspects of culture, among others. These issues were perceived by official institutions as a threat to the state's narrative hegemony. Since the triumph of the revolution in 1959, the state aimed to domesticate artists and intellectuals. Maxims like "with the revolution, everything; against the revolution, nothing" defined the course of Cuban cultural policy, progressively becoming more repressive until the arrival of the 1980s when there was a slight relaxation. This was an opportunity seized by young artists to open Cuban art to international trends. As the decade progressed, these young artists distanced themselves from the ideological utopia turned mass ideology. They strived to maintain their autonomy and critical capacity in a highly controlled environment, giving rise to complex intersections between art and politics. Young artists developed collective and cooperative projects that created independent artistic spaces. Participatory sociological investigations and performance emerged as privileged strategies, allowing art to reach the public directly and evade state censorship. These projects expanded the scope of art, transformed spectators into participants, and redefined the relationship between art and Cuban society. The state's imposition of art politicization resulted in all art produced in Cuba being interpreted through a political lens, either actively or passively. This led authorities to believe that young individuals, born and educated within the Revolution, were not committed to the system. Despite their initial commitment to the Revolution, many artists experienced censorship and persecution. Consequently, the Revolution turned its "potential new man" into a dissident artist and reverted to the repressive tactics of the two previous decades, intensifying censorship, pursuing and imprisoning artists, and ultimately pushing them into exile. / Estrada Tamayo, LP. (2024). Estética e ideología en las artes visuales cubanas de la generación de los 80 [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/207290

The objective of this thesis draws on my experience acquired during the internship in Galeria De Arte Servando in Havana, where I have been given the opportunity to learn about Cuban culture as well as to witness the restrictions and difficulties in gallery activities due to the communist government. The first part of the thesis focuses on historical facts highlighting the art exchange between Czechoslovakia and Cuba, a common part of running the state institution in the past. It was a common practice both in Havana´s House of Czechoslovak Culture and in the House of Cuban Culture in Prague. After the collapse of the Soviet Union, both houses were closed and the Czechoslovak-Cuban relations in art and culture have never been restored. The study subsequently discusses the concept and realization of the exhibition prepared in collaboration with Cuban curator Yenisel Osuna Morales. The aim of the thesis is to try to initiate a dialogue between two countries, Cuba and the Czech Republic (former Czechoslovakia), countries with many differences, and probably even estranged nowadays. However, their relations were warm before, and they could be in many ways an inspiration. The primary outcome of this thesis is the exhibition project aimed at the topic of censorship in independent art, its influence on gallery activities and freedom of artistic expression in Cuba. The selection of cuban artists carried out by curator Yenisel Osuna Morales represents the topic of pluriculturalism, migration and diaspora. By means of exhibition exchange, I would like to refer to the terminated friendship between Cuba and former Czechoslovakia in the field of art. The purpose of these exhibitions is not only to present Czech contemporary art in Cuba but also to present Cuban art in the Czech Republic without any restrictions.