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A Missing Story in Havana: a Conversation with Juan Moreira July 8, 2016 Juan Moreira Studio, Havana, Cuba

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A Missing Story in Havana: a Conversation with Juan Moreira July 8, 2016 Juan Moreira Studio, Havana, Cuba Zheng Shengtian A Missing Story in Havana: A Conversation with Juan Moreira July 8, 2016 Juan Moreira Studio, Havana, Cuba This interview is an extension of my research into exchanges between Latin Left to right: Zheng Shengtian, Marisol Villela, Juan Moreira. America and China during the 1950s and 60s—in particular with Chilean Photo: Don Li-Leger. artist José Venturelli and his influence in mainland China. In the 1960s, Cuban artist Juan Moreira assisted Venturelli in the painting of two large murals in Havana.1 Zheng Shengtian: May I call you Juan? We are of the same generation. 44 Vol. 16 No. 1 Juan Moreira: Yes, of course. Zheng Shengtian: Juan, when I was a young artist in the early 1960s, I was in China, in Beijing, and we learned about the painting Camilo Cienfuegos (1961). Juan Moreira: It is José Venturelli’s mural. Zheng Shengtian: Venturelli lived in Beijing at that time, and he came to Havana and made two murals—Camilo Cienfuegos, in the Medical Retreat (now the Ministry of Health), and another, Sovereignty and Peace, in the Hall of Solidarity at Habana Libre, the former Havana Hilton hotel that was once the headquarters of Fidel Castro. In 1962 Venturelli went back to Beijing and showed his drawings of the mural Camilo Cienfuegos as well as photographs of it. So many artists in China, in Beijing, were very impressed by this mural. In more than half a century, however, no one in China actually has seen the painting, no one has seen the original. But we saw it today, with Chinese artists Zhang Peili and Geng Jianyi who are visiting Havana with me. Juan Moreira: Did you go to see both of the murals? Because there are two. Zheng Shengtian: Yes, we saw two. Juan Moreira: Venturelli worked for about eight months on each of these murals; he devoted a lot of time. I was his assistant. Zheng Shengtian: That is why we have come to visit you, because we know you were the assistant to Venturelli at that time. Juan Moreira: A Cuban painter, who has now passed away, Orlando Suárez, worked as an assistant with David Alfaro Siqueiros in Mexico. And Orlando Suárez—I do not know how it happened—but he was the one who invited Venturelli, who brought him to Havana. I worked with him on both murals. Zheng Shengtian: Were Suárez and Venturelli friends? Juan Moreira: Probably, but I do not know exactly how the connection was made. But yes, Orlando Suárez called me to work with Venturelli, and he was the one who brought him. Zheng Shengtian: Maybe because Venturelli was also an assistant to Siqueiros, a long time ago, in Chile. Juan Moreira: Orlando Suárez was also Siqueiros’s assistant, but in Mexico. I do not know if he and Venturelli knew each other before. If I once knew it, I have now forgotten. Vol. 16 No. 1 45 José Venturelli, Camilo Cienfuegos, 1961, mural in the conference room of Ministry of Health, Havana. Photo: Don Li-Leger. José Venturelli, Sovereignty and Peace, 1962, mural in the Hall of Solidarity, Habana Libre hotel, Havana. Photo: Don Li-Leger. 46 Vol. 16 No. 1 Vol. 16 No. 1 47 Zheng Shengtian: So at that time you were probably twenty-four years old. Juan Moreira: More or less. I was born in 1938, but I do not remember exactly when the mural was done. But there is a very interesting anecdote. The first mural, Camilo Cienfuegos, was the one in the Ministry of Health Building across the street from the Pabellón Cuba. So the story that I am going to tell is connected with this mural. Salvador Allende, do you know who I am talking about? He was Venturelli’s friend and later became the president of Chile. While doing this mural, Salvador Allende visited Venturelli, and that was when I met Allende, and one day he told me “Moreira, I am going to take with me this work from Venturelli”—it was a sketch. Then Venturelli said “No, that is a sketch, I am going to give you an original one, not that one.” But what I was going to say is that when Allende left, Venturelli told me: “Look, there are going to be elections in Chile, and he is going to be a candidate for president of Chile. But this time, he will not be elected as president, he is only going to be a candidate, not president. But next time, he will be president.” And it was this way, exactly this way. I was very young, Allende was candidate for president of Chile, and it is true, he did not win, but years passed by and he was once more a candidate, and that time, in 1970, he was elected president of Chile. It was as Venturelli said, I do not know why, it was just something that he knew would happen. With Venturelli, I learned a lot. I was young, and, well, I always painted, but he was a good teacher, and he helped me very much during the process of painting the murals. What else can I tell you? He was an excellent painter, and a very good person, but you should ask me something else more specific that you would like to know. Zheng Shengtian: I visited Venturelli’s daughter, Paz, in Chile three years ago, and she told me that she was in Havana, too. She also told me about the time when her father was working on the murals, that Che Guevara visited the site, do you remember that? Juan Moreira: Paz? Zheng Shengtian: Do you remember her? Juan Moreira: I know her. When the mural was being painted, Che went to see the mural. Che was someone who was highly respected by us, and in the mural Camilo Cienfuegos there is even a part in which Venturelli is depicted as a wounded character, and Che is helping him. Did you see that image in the mural? Zheng Shengtian: Oh, that is Venturelli. So why is he lying down? Juan Moreira: Well, he wanted to depict himself wounded. I do not know why—perhaps to imagine he was a guerrilla. And Che is there too. 48 Vol. 16 No. 1 José Venturelli, Camilo Zheng Shengtian: On one side of Venturelli is Tania the Guerrila, who Cienfuegos (detail), 1961, mural in the conference room fought with Che in Bolivia, and next to her is Che Guevara, is that correct? of Ministry of Health, Havana. Photo: Don Li-Leger. Juan Moreira: Tania, I do not know. Of course one is Che, and one is Venturelli. The woman has the outfit of a guerrilla, but I do not know who she is. Zheng Shengtian: Could you tell us more about this mural? Is that General Castro to the left of Camilo? Juan Moreira: Yes, I think that is Fidel between some plants. Zheng Shengtian: And do you recognize the person at the end? Juan Moreira: I do not remember, so many years have passed. Marisol Villela: When was the last time you saw this mural? Juan Moreira: Years ago. I worked first as an assistant on that mural, and later I worked on the other mural as well, the one at the Habana Libre. Marisol Villela: I mean when was the last time you revisited the mural? Juan Moreira: I can’t tell you exactly. Zheng Shengtian: Is this Camilo Cienfuegos in the centre? Vol. 16 No. 1 49 Juan Moreira: Yes, that is Camilo. I went to see it several times after we José Venturelli, Camilo Cienfuegos (detail), 1961, finished it, but many years have passed since the last time. And when the mural in the conference room of Ministry of Health, Havana. mural was being made, friends of mine, as well as painters, visited us during Photo: Don Li-Leger. the process, and Venturelli allowed them to watch. Zheng Shengtian: How long did you work with Venturelli in total? Juan Moreira: With the first mural I worked almost all the time, and in the other as well, the one at the Habana Libre; I was his assistant. I was very young. I was twenty-something. Venturelli was already an adult. I looked at him as the great teacher, with a lot of respect. I was the assistant, and nothing more, only the assistant. We were not friends really because we were not the same age; we did not go out to drink or eat together. He was more a teacher to me. Zheng Shengtian: How many assistants were working with him at that time? Juan Moreira: From what I remember, I was the only painter. Later, when there was need of another assistant for the Habana Libre’s mural, I brought one of my friends, who has now passed away, José Foble. I brought him to help, so at one point there were two of us. Zheng Shengtian: What exactly did you do on the murals? Were you painting or, . .? Juan Moreira: I drew, because Venturelli designed the sketches and I helped to transfer the drawings onto the wall following his sketch. And sometimes I helped to do the underpainting. I helped to copy the sketch, the original drawing that Venturelli did, onto the wall, but he also drew. 50 Vol. 16 No. 1 José Venturelli, Camilo Zheng Shengtian: How did you transfer the sketches onto the wall? Did you Cienfuegos (detail), 1961, mural in the conference room use charcoal, or what method did you use? of Ministry of Health, Havana. Photo: Don Li-Leger.
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