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A T L Á N T I REVISTA DE ARTE Y PENSAMIENTO / JOURNAL OF ART AND THOUGHT Atlántica # 54 PRIMAVERA/VERANO SPRING/SUMMER 2014 Atlántica P. 5 P. 96 P. 188 Editorial / Editorial JAC LEIRNER: CONRAD VENTUR: por / by Octavio Zaya LA SONRISA MONTEZLAND DEL GATO / Un proyecto para / P. 6 A project for Atlántica CAAM: THE SMILE OF 25 AÑOS. CRÓNICA DE THE CAT P. 200 por / by Moacir dos Anjos UN RECORRIDO / PHILIP-LORCA diCORCIA: 25 YEARS. CHRONICLES P. 120 OF A JOURNEY Un proyecto para / EL REGRESO A project for Atlántica por / by Clara Muñoz DE LO REAL / FERNANDO GUTIÉRREZ: THE RETURN P. 26 ODA AL SECUNDÓN / OF THE REAL DIÁSPORAS DE LA ODE TO NUMBER TWO por / by Christian Viveros-Fauné DIÁSPORA, O LA P. 132 RECONSTRUCCIÓN DEL P. 212 UNA SEXTA PARTE Un proyecto para / “ATLÁNTICO NEGRO” / A project for Atlántica DE LA TIERRA / DIASPORAS OF THE IDEOLOGY A SIXTH PART DIASPORA, OR THE por / by OF THE WORLD RECONSTRUCTION OF MARLON por / by Mark Nash THE “BLACK ATLANTIC” DE AZAMBUJA por / by Suset Sánchez P. 150 P. 220 Una entrevista con / P. 52 An Interview with CINTHIA MARCELLE MOMENTOS JUAN ANDRÉS GAITÁN por / by Fabio Cypriano por / by Monika Szewczyk INMENCIONABLES / P. 232 UNSPEAKABLE P. 160 ARTE ÚTIL MOMENTS GINTARAS Coloquio con / A Colloquium with Entrevista con / An interview with DIDŽIAPETRIS: TANIA BRUGUERA JOHN AKOMFRAH LA CONVERSACIÓN P. 252 por / by T.J. Demos DE KLUGE / COLABORADORES / CONTRIBUTORS P. 64 KLUGE’S Un proyecto para / A project for Atlántica CONVERSATION Entrevistado por / Interviewed by MAELSTROM Agar Ledo por / by ZOÉ T. VIZCAINO P. 172 ENTRE EL SIGNO P. 76 Y EL AZAR / MAMÁ ¿SOY BETWEEN THE SIGN UN BÁRBARO? / AND CHANCE MOM, AM I BARBARIAN? Una conversación entre / Entrevista con / An Interview with A Conversation between FULYA ERDEMCI Agustin Pérez Rubio e / and por / by Paulina Olszewska ITZIAR OKARIZ Con este número especial de Atlántica estamos les. Por otro lado, este número es especialmente celebrando el 25 aniversario del Centro Atlántico importante para mí porque marca la 50 edición de Arte Moderno-CAAM, la casa y el soporte de que he realizado a partir del número 4 de la revista, nuestra revista. A veces contra corriente y otras primero como Editor Asociado (1991-2000), luego veces bajo fuertes presiones económicas y políti- como co-Director (2000-2007), y hasta el pre- cas, el museo de Las Palmas ha conseguido man- sente como Director. tener una andadura estable para cumplir esta onomástica en salud y mirando al futuro con entu- El equipo que realiza esta ya veterana revista, siasmo. De esa misma manera nos sentimos quie- espera y desea que continúen ofreciéndonos su nes realizamos esta revista de arte y pensamiento, apoyo y agradecida atención. En correspondencia, que con este número también marcamos otros dos nosotros continuaremos, con entusiasmo, rumbo momentos importantes en nuestra trayectoria. hacia territorios inexplorados, siempre con reno- vadas ideas que nos ayuden a articular nuevas pre- Por un lado, este número es el último que se guntas. Mientras tanto os invitamos a que disfruten publica como edición impresa. A partir de este de esta nueva entrega, que a veces repasa y revi- número especial, Atlántica se traslada al dominio sita lugares familiares, otras se aventura entre nue- de las redes electrónicas y sucesivamente tratará vas cartografías, y se aproxima también a algunas de recuperar la periodicidad que nos caracte- de las voces y propuestas que nos acompañarán rizó hasta principios de este nuevo siglo. Con el en el programa del CAAM durante este tan bien- mismo equipo, bajo los mismos presupuestos y venido y feliz aniversario . con la dedicación que se requiera de nosotros, la revista también se propone mantener un perfil más Acompáñenos a celebrar el 25 Aniversario del dinámico y actualizado entre sus números habitua- CAAM. Editorial Octavio Zaya Director / Managing Editor With this special issue of Atlántica we celebrate format should lend a new dynamism to the fulfil- the 25th anniversary of the founding of the Centro ment of that mission and reduce the time required Atlántico de Arte Moderno-CAAM, the home and to deliver content to the reader. patron of this review. At times running against the current and at other times facing powerful eco- This issue also marks a personal milestone for me, nomic and political headwinds, the Las Palma as it is the 50th issue in which I have played a role, museum and arts centre has nevertheless man- beginning with issue 4 as Associate Editor, a posi- aged to steer a steady course, and as it marks this tion I held from 1991 to 2000, and subsequently important milestone it can look forward confi- as Co-Managing editor until my appointment as dently towards its second quarter-century. Managing Editor in 2007. The same spirit of dogged enthusiasm also ani- In the name of our now-veteran editorial team, mates the editorial staff of this journal of contem- I cordially invite you, dear reader, to continue to porary art and thought, as we ourselves reach two show us your support in the form of attention, criti- other milestones. The issue that you are holding in cism, and suggestions. For our part we pledge to your hands, in keeping with the irresistible global continue to map hitherto unexplored territories, trends of the digital world, is the last that will be to pose new questions, and to seek new answers. printed on paper. Future issues will be published on the Internet only. Among the several advantages Meanwhile, I hope you will enjoy this very special of this move is that it will now be easier to resume issue, which, in addition to its bolder expeditions, the regularity of publication that was long a point also revisits some familiar ports of call, including of pride for us. Our staff remains unchanged, as CAAM itself, as it raises its sails for the next leg of do our principles and our mission. The electronic its journey. El comienzo de la singladura y habilitado aportando una versión contemporánea del En 2014 se cumplen los veinticinco años de la inauguración patio. Oiza introduce un sistema de espacios con luz natu- del Centro Atlántico de Arte Moderno -CAAM-. Un pro- ral conseguida a través de una estructura metálica que se yecto que ha navegado entre el arte contemporáneo y una organiza en torno a dicho patio central. Para el arquitecto CAAM compleja estructura social y política a la que se añade en navarro la visión exterior del edificio es fundamental, des- su última etapa una crisis de profundo calado y una cada tacan las cubiertas con amplias vistas sobre el mar que vez más desconcertante globalización a través de la cul- favorecen su localización. La transformación de un edificio tura posmoderna. El cambio de siglo afianzó la relación del privado por uno público, tan icónico, se pudo valorar en 25 AÑOS. CRÓNICA DE museo con la sociedad y la ciudad. El recorrido del CAAM la inauguración de un evento que también supone una a lo largo de estos veinticinco años ha terminado por con- renovación en el concepto de museo que debe encontrar firmar la influencia del museo como institución de refe- su especificidad como espacio cultural frente a otros con UN RECORRIDO rencia con capacidad para adaptarse y ofrecer modelos los que se complementa dentro de la ciudad. alternativos que han servido para transmitir los valores y La inauguración oficial vino de la mano de la exposición los signos de nuestra ápoca. Una labor investigadora acti- El Surrealismo entre Viejo y Nuevo mundo (dic.1989- vada no sólo por las exposiciones y la colección, también feb.1990). La muestra hacia un guiño a las vanguardias, 25 YEARS. CHRONICLES por las publicaciones, los cursos impartidos y promovi- al surrealismo que tanta importancia había tenido en dos por el museo. La creación de la institución museística Canarias. No olvidemos que en 1935 André Breton y su OF A JOURNEY estimuló cierto reconocimiento de la diversidad cultural esposa Jacqueline Lamba visitan la Isla de Tenerife para en una ciudad donde conviven personas procedentes de participar en la Exposición Surrealista organizada por la múltiples rincones del planeta. Estamos seguros de que Revista Gaceta de Arte que dirigía Eduardo Westerdahl. por / by el CAAM con sus actividades ha atraído a una parte de las Este acontecimiento cultural de magnitud mundial pro- distintas comunidades que viven en la urbe. pició que artistas de primer nivel expusieran en Cana- El proyecto estuvo a cargo de un arquitecto de prestigio, rias. En aquellos momentos era impensable que en un Clara Muñoz ATLÁNTICA Francisco Sáenz de Oiza. El casco histórico de Vegueta lugar tan periférico se reunieran creadores de la talla de alberga el centro de arte en una casa neoclásica del siglo Picasso, Dalí, Arp, De Chirico, Max Ernst, Magritte, Tanguy, XVIII de la que mantiene su fachada. El interior es reformado Óscar Domínguez, Duchamp, Man Ray o Dora Maar. 7 Beginning the Voyage was preserved. As the interiors were rebuilt and the central The year 2014 marks the 25th anniversary of the found- courtyard redesigned, Sáenz de Oiza devised a system ing of the Centro Atlántico de Arte Moderno (CAAM), of spaces bathed in natural light, using metal structures a project that has piloted a course through contemporary deployed around the courtyard. Emphasizing the appear- art and a complex social and political structure, as well ance of the building from the exterior, his design, with as, more recently, a deep recession and an increasingly its peaked roofs that provide views of the sea, made the disturbing globalization throughout postmodern culture. structure easy to spot in the skyline.
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