The Yield of an Unfinished Trip

/ 5 October, 2014

(…) Apart from the layout and predictions of the CNAP Collection, more favorable to conceiving a storehouse and a space for management than to international exhibition and traveling, fate decreed that the International Cultural Society of Shanghai (SICA) invited Rodando se encuentran…, in its version for the Jose Martí Cuban National Library, to visit that city, an interest other Chinese museums and entities later ratified. (…) In a little more than a month an enormous 44 feet container was sent to the other side of the world with a selection of more than 140 pieces by about a hundred artists, and a book-catalogue was edited and designed that, more tan accompanying this specific show, would serve as documentation of all the Collection’s acquisitions up to that date.

(…) In the selection, artists coming from the generations promoting modern Cuban painting and graphic art were represented, together with those who combined abstraction with local space and individual subjectivity, or those who felt the need to transmit − through limpid figures and metaphors − a substantial identification with the social project unleashed by the Revolution in the sixties. Creators who, successively, graduated from artistic teaching of a new kind, expanded after the sixth decade of the past century, were not missing either. (…)

Beyond the fortuitous nature of this first international attempt, the foresight for the future of the CNAP Collection has opened new possibilities and projects. From now on, a new period opens where the conditions of conservation and study go hand in hand with the chances to exhibit it and make it known. If fulfilled, the announced final purpose of these strategies would result in the foundation of El Almacén (The Storehouse). This dreamed definitive space for the pieces would be the first step in a museum of contemporary art in Cuba. It would be able to preserve, in adequate environmental and security conditions, an increasing number of works by contemporary artists, and would facilitate more complex acquisitions on dimensions and technological requirements. (…)

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