lúcu_lúcu (ver_mirar)


The use of double negativity has its opponent in the text itself.
The bufo theater attended to the expression before the text.

The Cuban bufo theater, created in the 19th century, aspired to improvised themes and unpredictable arguments through certain exotic nuance, and satire, far from any pretense of transcendence. This theater, however, was not only a small scale formal renovation within the spectacle of entertainment. It also became the recognition of a new self-conscious individual, who claimed the stage as a useful tool to undermine the extortions and the nonsenses reproduced by a society hierarchized from the colonial administration. Therefore, the signs, symbols, and rituals transformed into collective gestures were questioned by the bufo, placing on stage the marginalized characters and environments within the social context of the island. However, it was necessary to define a differentiated space outside of conventional language.

At the same time, in the claim of blackness as an urgent demand for unresolved identity construction in Cuban society, the Bozal reached a preferential treatment within the bufo interpretation. It became a structural part of its non-hegemonic expressivity, consciously detaching itself from all its negative connotation and leaned, in turn, on the blackface stereotype installed in the Minstrel. Since then, black on white was relegated to black on black.

The bufo theater was thus able to construct the instrument of reconciliation and complementarity of meaning that will involve the articulation of two independent realities, even opposed, but obliged to complement each other. Because the public space, we should remember, is not only what is known by all, but also, even if ignored or neglected, what happened before the possible public gaze.

The bufo, that reaffirms a peculiar way of feeling and manifesting through the miscegenation of minority, peripheral or simply invisible elements, finally managed to account for the awareness of a properly Cuban image. However (or because of that), the treatment the bufo interpreters got from the press illustrators of the moment turned out to be the same the slaves received years before when they arrived on the island; their image annulled by the absence of any form of facial expression — a black spot, a structuring vacuum, where to access in this project.



Therefore, I started this project from the idea that we need “anexact yet rigorous” expressions to designate the coexistence of the two negativities – that of language and that of form -. I am also aware of the need to steal the communicative function of the articulated languages. That is, to reveal their power to figure and not only to mean. After all, building sense is nothing more than deconstructing the meaning. A gesture that, on the other hand, responds to the reverse of merchandise, because it makes any use value or exchange value impossible. It does not even react to the possibility of the transcribed experience. It is pure praxis. But always trying to keep in mind the unrepeatability of the repeatable; a transition from the same to the same through which establish a difference. The Nietzsche´s room with the spider that goes up the wall when at the question of the devil “Do you want to repeat this moment itself infinitely?”. It gets the answer “Yes, I want.” Because everything stays the same in Havana, but it has lost its identity.

I also recognize that Havana takes place on its own: it does, being.
However, there is a need to learn to read again.


At the first stage after the triumph of the Cuban Revolution, a new scale of architectural composition arose, which greatest virtue was to reach the maximum expressiveness resorting to minimal elements. lift-slab. The new architecture proposed by Fernando Salinas does not manage to seduce just only me but also the Cuban landscape without altering the linguistic unit despite its planimetric interpretation. Salinas became a mentor to the new generations and will no longer be called architects, but constructors. Then the Higher Technical Center for Construction replaced the College of Architects and the “Architect’s Day” transformed into the “Constructor’s Day,” which used to be held nationally until very recently on March 13. Date of high patriotic significance as it coincides with the anniversary of José Antonio Echeverría´s assassination, a student leader of architecture, whose Basque origin surname means, coincidentally, a new house.

This image of the University City José Antonio Echeverría, material justification of one of the greatest architectural achievements of the Revolutionary Modernity, conveys that dreamlike character or utopia of progress that is dismantled by the black cavities that baffle me. Voids that end up representing the only relevant part of the image; its physical meaning as exploratory elements. Everything else, from the lived-in space to the constructed space, or the physical attributes of the architecture represented may even have vanished or, what comes to the same thing, do not exist as a consistent testimony of the present. However, these black cavities have wanted to deny me a transparent representation of their surface, and have complied accordingly.

The Revenge of the Idyllic.