martes, 22 de noviembre de 2016
jueves, 30 de junio de 2016
lunes, 25 de abril de 2016
lunes, 8 de febrero de 2016
Once upon a time, there was an exclusive Country Club Park in Havana. After the Revolution, in January 1961, FIDEL CASTRO and CHE GUEVARA, having finished a golf game, dreamt about this Country Club as an incredible complex of tuition-free art schools, highly experimental and conceptually advanced to serve the creation of a “new culture” for the “new man”. That’s how the ISA – Instituto Superior de Arte – was born. To realize such dream, three young and very talented architects were called: RICARDO PORRO (Cuba, 1925 – 2014), ROBERTO GOTTARDI (Italy, 1927), VITTORIO GARATTI (Italy, 1927). Immense Catalan vaults, thousands of bricks and a sky-high ambitious objective were the main elements of one of the most incredible architecture ever conceived. However, by the 1965, the Soviet-inspired functionalist forms became standard in Cuba. Thus, the Art Schools with its exuberant structure and the three architects were accused of being incompatible with the Cuban Revolution, and the entire project was decommissioned. Never fully completed, ISA was left abandoned and overgrown by the jungle until preservation efforts began in the first decade of the 21st Century. The ISAis currently being considered for inclusion on the World Heritage list of sites of “outstanding universal value” to the world.
Text and photo Keisuke Otobe via purple
martes, 26 de enero de 2016
A 35-minute color film by Cocteau entitled "La Villa Santo Sospir." Shot in 1952, this is an "amateur film" done in 16mm, a sort of home movie in which Cocteau takes the viewer on a tour of a friend's villa on the French coast (a major location used in Testament of Orpheus). The house itself is heavily decorated, mostly by Cocteau (and a bit by Picasso), and we are given an extensive tour of the artwork. Cocteau also shows us several dozen paintings as well. Most cover mythological themes, of course. He also proudly shows paintings by Edouard Dermithe and Jean Marais and plays around his own home in Villefranche. This informal little project once again shows the joy Cocteau takes in creating art, in addition to showing a side of his work (his paintings and drawings) that his films often overshadow.