sociologicul ici'M'liri;; of Pepón Osoi'io. a pillage oullined 1)V (Carolina Poiice de

Pucrlo l^icaii hasrd iii New ^ofk. orlIic León, ddiese arlisls transcribe llieir NOTKS simiilaleil scir-rc(\i-l¡iii; of (ail)aii Carlos hostililx lowards ciirrenl coincnlions b\ [1] i'lic ideas Cor lliis i's>ay wi'ic (iiiiliiicil lor lile l'irsi lime iil lile iuldic^^n enlidril Kslévez. laking |jossessioii of more or Icss " rowai'ífs a iiew" inuige of lile (¡arihbeaii Terliiii(|iics and íorins also look on sopliislicaled langiiages and leslif\ lo llie giveu ul llie il Bieniiial (if Oarihheaii and Central Aiiierieaii Paiiiliiig. .VIUSIHI de Arle a new inipoilancc in llicir owri iif;lil. Il lacl dial llie\ li\(' in loda\ s wciiid. I lieir Moderno, Sanio Doiiiiago. ()etol)er l*)*)^ liccainc (liíHiuIl lo spcak hi pnrisl Icniís. iiiorpliologN is inleriialional. bul l.he Néstor García Caiicliiii. "Rehacer los pa.snportes". Revista de Crítica Ciilluial. Piiiilinakini;. foi' ('.\ainpl(\ wiincssed a cxeciilion is (.arilibcan: l'.donard Olissaiil Saiiliago de Chile, no. 8, May 1'XH. p. :}2. cliaiigc oí diri'clion. Arlisl.s liecame more interpreled llie use of lauguages iii llie [2] ^ olanda WOod has nientioneíl ihe (!ec¡si\'e laclois lor arti\iiig at a bcller iiilerested in ihe possibililies of expression Anlilles in a similar \va\:, ibev emerge iiiidersiandiim oí ihe coiilradiciiciiis inhereiil in ihe iiuier logic oi llie rei^ioii s üffered bv Üie inediuní ihau iii mnlliple from llieir respective socielies ge(j-polilieal. socio-ecoiioinic and ciihiiral and serial reprodiiclion. prcfci ring lo or llirongli tlie delerrilorialised developnieiil. \laiiy oí diese faclors determine aiiil Mifhíciiee tlie liiiiilalions exploil lile oiiginal woodrnl. siicli as the experieiices ol s|)oradic or proloiiged and beha\iiiiii- oí Carililieaii \ isual arts. Cubaiis Belkis Hainíi'cz or Abel Bar'i'o.so. fora\s inlo llie mollier comilries. llie See ''Procesos hislórieo-arlíslicos en el Caribe", in De la plástica cubana \ A varicl\ of dc\ ices wci'c adoplcd. w idi ;i inleraclions belween llie l\\(i |)oles caribeña, Havaiia, Edilorial Lelras (pndcncN lo diaw Ironi innllinicdia. strengtlien tbe t:endenc\ lowards Cubanas, 1990, p.lS.'i-H?. [•i] \\ i Uredo Laní ii.sed llie allegory oílhe lackinu as il is in inliibilion. openness and commilmenl lo llie contcxl Trojaii horse lo e.\¡)ress liolli an aesdietic complcnicnling llic sloi\ w iili \ ideo or (if lile coiiiilr\ of origin. and social desire lor iiipliire. "....Nb paiiilitig . h(í coiilessed. 'would iiol be pliologra|)li\. sonieliines on accoiinl of Idie new (laribbean a\aiil-garde equivalenl to a p.seii(lii-Ciiliaii inusic [...] I yeanied. as han! as I coiilil. lo paiiil die llic'ir dociinicnlarv valnc - as wiincssed in arlists concenírale llie dilemmas of llie drama oí niy COIIIHIN. I)U1 expressiiig in de|idl lile spiril of llie hiacks. ihc lieaul\ oí die work of üie Jamaican Alberl Cliong presenl inlo a sorl ol •melling pol . \cr\' ihe plasiic oí dii' blaeks. I wdiilil ihus be and Osaira Mínale of Aniba - or aiito- inucli along llie liiies ol llie like a Irojíui hoi'se írcan whieh amaziiig ligares woiilfl spring, capable oí icl'erenlial Kricisin - fd\ is López, of considerations of Alejo (^arpenlier iii one asloiiishiiig...'' In Max Pol Foiichei. Ai'iiba. orjoseUii (iadner. of Barbados. of bis disserlalions on llie Lalin .American Wilíredo Laiii. lüarcelona. I'.dieioiies Poligrafa S.A.. p. 188. Tlie figuralixc dimensión in a iio\el wliicli. (lespilc lile passing of lime, [-i] Heiié Louise. "Manilieslo del cJmariíHiisMio conlexl ol nnillinirdia and objecls can coiitiimes lo be |)ersisleiill\ \alid. moderno'. Mavaiia, l*'ourtli llavanu Bieiinial. (.ieniro Wifredo Laiii. 1991, also be acliieved through niatter, as Carpcntier said ai llie lime dial •ibis acl pp.44-.'34. e\idenced bv Marc Laíainie, aii artist of freeing of local prejiidice sel onl lo [•")] Alejo Carpenlier. ' I ,a iioM'la laliiioamericaiia en \ í^peta^ de un iuie\(» fioni Marliniíjiie based in New York: demónstrale lo itself and lo olliers dial siglo' . .Siglo .\.\l Kdiloies, 1981, p. n\. llii'ongli lile sinnilalion of I lailian .Mario lieiiig a (á'eole did iiol iiiake one

Benjainin or in llie lexcl of sopliislicalion obli\ ioiis lo wlial was goiiig on in lile resl of llie lale arlisi o( ('nban origiii. l'élix of llie world... lack iiiforinalion or be (González Toi-res. incapable of uiiderstanding and using CARIBBEAN ART AND riiis adxanee parlw wlio are teclin¡(|ues wliich are prodiicing exeelleni THE ALLEGORY OF sliaping a new era in llie svinbolic woi'k residís in ollier |)laces. [.S] Tliis is similar of lile región w illi a \ iew lo llie new lo wlial we are wiluessing lodav ELEGGUÁ

iiiillenninni. acl as an escape valva, lliroiigiionl lile (iaribbean arca, on a • • • delving more ilccpK iiilo llie iiniverse as niiicli more |>liiral li'\cl: ibis Ireiid (loes not appear in llie loriii ol a gaiiie ol evidenced in llie ongoiiig alleinpts lo JOSÉ IVIANUEL NOCEDA "keep iip widí llie limes". Tliiis. llic nioving in and oiil of inoderniu. wliicli pallerns of tofla\ s arl are screened and (^ancliiii saw signs of iu l^aliii America, In 1')?') Brazilian bisloriaii and an crilic eslablisheil as bencliniarks lor local bul i'alberas a slralegv ol adaplalion lo l'ederico Moráis pnblisbed a lc.\l llial expression, froiii an inler-lexiiial poinl ol conleiiiporaiN lile - as in llie culluri' of iiowada\s is a classic aboiil llic i(leolog\ ol

view; diere are no prejiidices agaiiist spaee Iliglil—. an inlrepid eiidea\()iir iiol inteniational biennials. and llic boirowing from maiiislream models. xcry lo be lefl onlside llie spliere of post- coii,se(|iieiilial exclusión al dial lime of

miicli in liiic willi llie llieor\ ol •ciilliiral inoilerniu lliis lime aromid. Lalin .America and (laribbean arl íroiii llie grand exhibitions held for the most part iri preceded it. the function of Latin linguistic-ctiltural fragmentation was a metropolitan centres. [1] The American art was "...almost always that historically prolonged process. The circiunstaiices and experiences that gave of filler, used to round out the statistics resultant national isolation is readily cause for the essay are no longer the same; of foreign participants. Llseful for this apparent on analysing promotional the global context has been tempered by a purpose were countries like the efforts in the arts. Immediatelv after the strategically concerted effort on the part of Netherlands (six participants). exhibition Art of the Gulfand Caribbean, the competent authorities to admit greater Barbados (1), VA Salvador (5), British organised in 1956 by the Houston nunibers of works of art fomierly regarded (2), (8). Honduras (2), Museum of Fine Arts [3] and something as subordínate to those circuits of cultural (1), Nicaragua (6), Panamá (6), of a pioneering effort with regard to its diffusion and circulation. The long- the Dominican Republic (7), Trinidad collective sway, the región was inundated established and especially the numerous and Tobago (6)..." [2] in small and rather unambitious projects new biennials the world over or the This situation extended to other to sponsor mostly individual exhibitions, thematic niacro-exhibitions held nowadays exhibitions within and without the group shows, or reciprocal exchanges of chainpion the concept of multiculturalisin hemisphere, whenever mechanisms of artists and exhibitions - dependent. as a or the pluralitv of expression and open asphyxiating hierarchical structuring and rule, on the umbilical cord of the mother their arms, on occasion with apprehension, stratification were brought to bear. It is countrv - which, in the last analysis. to the artists of the South. While it not surprising that Arte Fantástico reinforced the notions of insularitv or represents a repositioning within the ideo- Latinoamericano, paradoxically so well geographic dispersión that keep them aesthetic hegemony, the strong attraction acquainted with one of the most exploited attached to some continental territories. shown towards "othemess" does not facets of the Caribbean, should open its Nowadays the Caribbean boasts a exactlv redress so inany years of contempt doors only to Lam, Arnaldo Roche, or vigour of visual creativitv practically for peripheral cultures. That is why José Bedia. Or that Los Magos de la unknown outside the región. Isolated Gerardo Mosquera advises wariness in Tierra, also in tune with concepts niuch figures like Wifredo Lam, Hervé relation to the new generation's adopting a bandied about when it comes time to tr\' Télémaque, Peter Minshall, or the spirit of openness and tolerance. to define - or to pigeonhole - the movements of Haitian popular art. or the "Pluralism can be a prison without walls", (jaribbean spirit, was much more intuitive art of Jamaica, are enjoving cautions the Cuban critic. "exclusivist". Omissions apart, the better luck, and have in fact become I referred in the beginning to the plástic art was expounded in accordance paradigma of a genuineness that words of Moráis, because they hark back with certain approaches quite cióse to apparently exists nowhere else. Henee, to a time of acute marginalisation for the guidelines established by Arte Fantástico. the appreciative coniments of Waldemar Caribbean visual arts, a situation that is These tagged them artistic offerings Januszczak: "...the western world Uves in only just now, in the 1990s, beginning cerUred on Afro-Caribbean myth, on a perpetual ignorance about the painting quietly to be supplanted. His essay offers marvellous reality, or a magic realism, produced in the . There are a detailed dissection - with statistics defining a particular vein of creation onlv scraps of Caribbean art- no more", included - of the curatorial principies based on the "cult" or the had the glimmer of unsurpassed truth. [4] applied to selecting works of art and reinterpretation of the mvthical, This explains, for example, why it was awarding prizes at the grand sanctuaries cosmogonic, and philosophical systems of necessary for the world to wait until 1986 of art promotion: Kassel's Documenta, African tradition, in effect situating the for the exhibition Caribbean Art Now, the Vértice Biennial, the París Biennial, art of the Caribbean somewhere between the first show of contemporary' art of the and the Sao Paolo International Biennial. myth - the rock - and a hard place. English-speaking Caribbean to be In the case of the first three shows, there Then, conditioned by market forces. patronised by the Commonwealth figured few Caribbean ñames in the lists criticism promptlv latched onto this Institute in London. or 1989, when the of participants. For the organisers of the interpretation, precipitating a stampede Stedelijk Museum in Amsterdam Sao Paolo International Biennial, towards the mvthological, linking it to organised Bida y Coló, with works by 27 promoters in the western hemisphere of the syndrome of the Caribbean identity. artists from the . the same ideology instituted by the Within the interregional ambit of Nevertheless, since the 1980s timely principal international exhibitions that the Caribbean, geo-political and initiatives have been subverting the rules 1

I of plav. By wav of countercurrent, some five origitial works to be included in a egalitarianism, which in the long run projects with a inarkedlv contentious or travelling exhibition to be reprised in reinforce the abvsmal disproportions alternative einphasis on occasion vitiated Europe and Central America. The historicallv extant between territories the iinpact «f the exhibiton' centres, conceptualisation of Carib Art is weighed possessed of a tangible tradition - bringing into qiiestion western standards down by an oíd niaxim stating that "the México, Venezuela, , , of polaritv and exclusivitv. I put forth as use of gaudv colours constitutes one of •lamaica - and small enclaves with a evidence Al Sur del Mundo, La Otra the iTiost important characteristics of the ciíltural continuity in the inaking - Historia, or Otro País. Escalas Africanas, artists", [6] thereby lending credence to a Antigua, Aruba, Barbados, , shows that did a far better job tiresomely mistaken stereotype of (Airajao, Granada -, and therefore not to propagating the arlists of the West hidies, quaintness that in effect does the región fear biidgetary constraints imposed bv (Tuyana, French Guiana, and Suriname. more hann than good. limited guarantees of financial support; to In 1992 there appeared 1492-1992, Un Santo Domingo gave promise of unify the selective criteria of the national Nouveau Regard Sur le Caraibe, a better results. Despite whatever curators with the aspirations of the substantial look at the Caribbean through drawbacks that were incurred by its biennial committee in order to avoid the the eyes of French curators (Espace having been organised as part of the piecemeal anarchy of micro-selections Carpeaux) as part of observances marking ancillarv fanfare in observance of the unsustained by any co-ordinating the quincentenary of the discoverv and quincentenary orehestrated by then principie; to examine the performance of evangelisation of the New World. president Joaquín Balaguer's government the judges entrusted with conferring the hi 1990, Cnragaco's International (the biennial was established by Decree awards, who might be expected - witness Trade (Centre set^-ed as venue for Gala de N" 171-91), it had its génesis in the the last edition - to demónstrate more Arte, with works by artists of Aruba, Caribbean proper, on the island with the careful consideration: and to envisage Cnra(;ao, Suriname, Saint Martin, Saint strongest tradition of national biennials in better the theme and scope of each Lucia, as well as bv artists of French or the West Indies. The event embraced the edition. Also, it should drop the Dutch origin residen! in those territories. entire and, like Carib outmoded museological praetice of Two years later, in 1992, saw the Art, aimed at equilable representation by exhibiting works according to country blossoming of two timely initiatives for asking invitees to submit the works of and likewise eliminate incongruities the región. I refer to the Bienal de Pintura between six to twelve artists. Following posed by the unification of zones del Caribe y Centroamérica de Santo the third edition of the biennial, its possessed of dislinct cultural Domingo and to Carib Art, a group serious shortcomings and contradictions physiognomies, e.g., the (Central exhibitlon held in Curasao that embraced began to become apparent. Old-fashioned American isthmus, the Caribbean in one go an extensive but controversial rather than modern in conception, it mainland, and the West Indian range of thematic preferences, tendencies, harboured an inherent flaw: the )uv\, archipelago. rather than exercising due rigour, threw styles, expressions, and artists. The The complexities that Santo its doors open to all artists, in the manner Caribbean visual arts, in the past Domingo has not been able to resolve of exhibitions held in the Salón Carré in consigned to oblivion, all of a sudden were manifest in a different way in the Louvre at the time of the Revolution, seemed to attain to the coveted capacity Caribbean Vision, mounted at the Miami precipitating a crisis among artists, for diffusion in this endeavour to Center for the F"ine Arts (Florida) in public, and critics, as recounted by construct the "common destiny of the 1995. It was the emulator of grand Francisco Calvo Serraller. Caribbean". [5] The truth of the matter is exliibitions of Latin American art that indecisión and uncertainty hampered To foster its growth as a organised on North American soil, and the cultural efficacy of these two offerings. pluralistically representative biennial of attempted to be the first great coUective Carib Art, a project of the UNESCO fine quality, the selection and review show of Caribbean art. The catalogue National Committee for the Netherlands committee of this acclaimed visual arts carne accredited with texts by Derek Antilles, seiu out invitations to 35 event, Quisqueya needs: to rethink Walcott, Peter Minshall, Shifra Goldman, countries in the región. Its tenets granted curatorial assumptions and revise and Rex Nettleford. F'rancine Birbragher each country an equal opportunity to selective criteria; to abandon false criticised Caribbean Visiorís curators' take part by setting a maximal quota of yearnings for massiveness and approach in starting from an inadequate deíinition oí the Caribbean in geo- revised, whereas in other cases, such as and problematic aspects whose ideo- cultiiral terms. "According to the that of Cuba, for example, only emigres aesthetic zigzags did not turn their back catalogue s introductorv essay." were admitted, irresponsibly passing over on North-South relations but redressed Birbragher states, "the Caribbean the substantial artistic panorama that has the balance of South-South dialogue, iiiehides sixteen independent countries. survived the contingencies of life on the inverting the previously typical northern íive British colonies, a republic or largest of the Antilles. dominance of South-North exchanges, coininonwealth. a United States territorv, A different reading attaches to Ante which had ultimately served to widen the and six semi-autonomous menibers of the América (Cambio de Foco) y la Bienal de commimication gap. Netherlands (Kurlansky, 1992). In La Habana. Held in 1991, Cambio de The event shone forth as an another deíinition, there are included also Foco was catalogued by Luis Camnitzer experience of liberation from the the countries of Central and South as the first large-scale Latin American thraldom of centralism, outside the América that border the exhibition to be created in Latin America. domineering pre-eminence of "Euro- or the Atlantic Ocean, to the extent that In its encyclopaedic effort to design a American centralism ". A new wave of these share the same colonialist history model of coherent intercultural biennials would be unleashed in Havana's and cultural identitv as the islands interpretation for the región, conceiving of wake: there foUowed those of (Lewis C 1969).'" The critic concludes America as "a highly flexible conception, Johannesburg, Kwangju, and Istanbul, that in the last analysis the selection of as a multicultural metaformation united, which sought to model themselves on the eleven participating nations adheres moreover, by historical, geographical, Venice and Sao Paolo, as well as regional w to neither of the definitions. [7] econoinic, and social ties," it included the events such as those of Limas Mercosur More contradictions appear in the Caribbean (André Pierre, Haiti; José or Santo Domingos Mesótica. catalogue proper. Caribbean Vision lirtiits Bedia, Cuba; Everald Brown and Milton The Cuban initiative was much itself to the islands and Guyana. George, Jamaica; Martín Loópez, more beneficial for certain zones of the I jikewise, it makes its base of operatiolis Dominican Republic...). [8] third world that had nothing to lose and the English-speaking Caribbean, which I In 1984, the Bienal de La Habana much to gain, like the Caribbean. [9] In suppose must mean Jamaica, and of the shone forth in the firmament of the great the westem hemisphere, the geo-cultural 56 artists selected to be shown, 34 are exhibitions as a third world alternative to delimitations were well defined. North from that área. The exhibition also the international biennials. Its profile America was the guarantor of the reduces the number of nations involved. soon had repercussions on the world's mainstream whereas Latin America (that hs organisers invited Cuba, Puerto Rico, perception of the visual productions of is to say, Brazil, Argentina, México, Jamaica, the Dominican Republic, the South; it favoured a theretofore Colombia, Venezuela) maintained a Barbados, Haiti, and Trinidad and unusual change in the diffusion of the subordínate position though it did not Tobago, and represented a smattering bf arts and artists of Asia, África, the Middle suffer from a deficiency of exliibition small islands like St Thomas and St East, Latin America, and the Caribbean. space; The Fantastic Art of Latin Vincent, and tlien turned arouiid and More in this sense of laboratory, as Luis America, Indianapolis, 1987; Hispanic Art ignored , Guadalupe, and the Camnitzer dubbed it, than in its vocation in the United States, Museum of Fine Art, Netherlands Antilles. Within this selection as an inferior imitator of established Houston, 1987; The Latin American' there were at the same time unjustifiable events, the Havana Biennial engaged in Spirit. Art and Artists in the United States, disproportions. Jamaica had the debate on the question of otherness from 1920-1970, the Bronx Museum of the advantage of having 14 artists chosen, the point of view of its very own Arts, 1988 (on tour up until 1990); Art in while on the contrary Cuba, Puerto Rico, otherness and contributed to the Latin America, Yale University Press, New and Haiti were restricted to just six appearance of transformations in Haven and London, 1989; participants. The Dominican Republic conceptions and guiding principies vis-á- Lateinamerikanische Kunst, Museum appeared with onlv four. vis the tensions between centre and Ludwig, Cologne, 1993; Latin American

The criteria for the selection of periphery as perceived from a frankly Arts of the Twentieth Century, The artists proved less explainable, since irt subordínate standpoint. This venue gave Museum of Modem Art, New York, 1993. some cases the context of native countty space to art that commented on society, As a concept, the Caribbean was then a and transnational experiences was politics, and history, touching on issues sorry invenlion, a coUection of the staked a. -a c üut remnants of colonial, neo-colonial, and (Haiti); Petrona Morrison, Omari Ra, to gain an understanding of and to posl-colonial powers, and consequently a Laura Facey (Jamaica); Marc Latamie promote the diffusion of the Caribbean zone beset bv fragmentation. (Martinique); Pepón Osorio, Anaida visual arts. contributing to the The Cuban foruní never established Hernández, Víctor Vázquez, Juan Caribbean's being not onlv the place "in denigratorv distinctions for Caribbean Sánchez (Puerto Rico); Marcos Lora, which men's treinulous meinories collide inclusión. A simple glance at the statistics Raúl Recio, Martín López, Belkis so that they iningle and settle." hut relative to participants in the preceding Ramírez, Tonv Capellán (Dominican rather the possible nation dreamt of by six editions shows a total of 390 Repubhc); Remy Jungerman (Surinam); Edouard Glissant. Of all the shows, the (Caribbean artists invited to the event. Chris Cozier (Trinidad)... The effect that Havana Biennial acts as a sort of From a peak of 141 attendees in 1984, works by these Caribbean artists have on Elegguá, the lord of the cross-roads in the number of participants from that critical perception is noteworthy. In Yoruba mythology. the god who "opens zone has visiblv fallen off in the last three 1994, Wolfgang Becker, curator of the and closes paths and doors." Havana biennials (21 in 1991, 39 in 1994, and Ludwig museums, expressed delight at opens up new horizons for Caribbean art, 31 in 1997) in response to an what he had seen in Havana and praised fostering its expressive success and understandable tightening of curatorial the art in an interview appearing in the growth as an integral part of the criteria over the course of time. These Cuban capital's newspaper Granma. international cultural fabric. numbers include such famous artists of Given its successes and its the área as Mima Báez, Carlos Irizarri, NOTES limitations, the Havana Biennial has m Antonio Martorell, Jaime Suárez. David become the most suitable space for Federico Moráis. "Ideología de las l)ieiiale.s Boxer, Everald Brown, Milton George, internacionales e imperialismo arti.stico". in fostering the Caribbean visual arts; it Artes Plásticas na América Latina: do Stanlev Greaves. Michel Rovelas, Victor carne into being at a time when these transe ao transitorio. Civilizacao brasileira, Río de Janeiro. 1979, pp. 41-65. Anicet, Ernest Breleur, Silvano Lora, were scarcely promoted bevond its [2] Op cit, pp. 48-49. Raúl Martínez, Manicha. Mario García seacoasts. On Cuban soil, the particular [3] Eva Cockroft inentions this exhibition in her essay "The United States and Latin Jova. to ñame bnt a handful. qualities of Caribbean art interact and American Art of Social Commitnient: enter into dialogue with productions 1920-1970'" in The Latín American Spirit. Also making its appearance, Art and Artists in the United States. 1929- especiallv starting from the Fourth arising from different contexts. As a 1970. The Bronx Museum of the Arts, New York, 1988, p. 202. Havana Biennial in 1991, was an result of this feedback, Caribbean art has [4] Waldemar Jannszczak. Quoted by Emma emerging generation whose offerings come to display a greater receptiveness to Wallace in Caribbean Art Now. London. Commonwealth Institute. 1986, p. .5. and closer contact with contemporary function as turning points of theme and [5] In 1992, I published the article "El Caribe language in favour of an innovatorv tendencies. The biennial removes a la vista ', tentaría. Litín Diario. Santo Domingo, 11 October 1992. j). 2. when, on image, put forth in intertextual terms, a Caribbean artists from the regionalist the eve of its .second edition, I ghetto, discarding the Cubanisation of the optimistically evaluated the role that tlie hybridisation of contents and Biennial of Caribbean and Ontral manifestations, with a problematising Caribbean commented on by Alana American painting conld play. In the same article I pointed out that this initiative was attitude, a recuperation of the critical Lockwood; replaces perceptual schemes linked to other precedents in the cultural meaning of art (Andreas Huvssen) that of colour, landscape, and folklore with field, such as the Carifesta. the promotive measures of the (lasa de las Américas, or connected practically the whole of the issues of ethnicity, marginalitv, and the Festivales del Caribe held in Santiago de Cuba. (Caribbean: the islands and the lands evolving identity in a configuration that Carib Art progranune. p. 4. transcends national, regional, or [6] along its shores, territories great and [71 Francine Birbragher. "Visiones caribeñas. small. 1 refer to Osaira Muyale, Elvis hemispherical borders in favour of an Pintura y escultura contemporánea . Art Sexus. Bogotá, N" 19, Januarv/March López, Alida Martínez, Glenda Heileger spiritually receptive dynamic. A show 1996, p. 100. Gerardo Mosquera, Carolina Ponce de (Aruba); Annalee Davis, Ras Akyem, Ras recently inaugurated in Spain, Exclusión, [8] León, Rachel Weiss. "Presentación'. Ante Ishi (Barbados); Belkis Ayón, Sandra fragmentación, paraíso. El Caribe América. Biblioteca Luis Ángel Arango. Bogotá, 1991, p. 10. Ramos, Abel Barroso, Los Carpinteros, insular, will no doubt be able to shed [9] In 1986. the Second Harana Biennial Alexis Leyva (a.k.a. Kcho), Carlos further light on these matters. dedicated its international symposiuní to the Plástic Arts ofthe Caribbean. with Garaicoa (Cuba); Yubi Kirindongo Beyond mistakes and imperfections, Robert Farris Thompson, (ierardo (Curasao); Thierry Alet (Guadaloupe); Mosquera, Juan Acha. Rita Eder, Yolanda the events and expositions analysed Wood, Adelaida de Juan, Denis U'illianis. Edouard Duval-Carrié, Mario Benjamín represent in one way or another attempts among others, as rapporteurs.