Analyzed the possibilities, I see nothing better than telling. It is worth saying that the device of pseudonym was suggested: I note that I’m not fond of these mechanisms. Delfin Prats, that toothless crazy, reveals that an autobiography can be the perfect annulment of the ego.
As we are far from knowing things, it occurs to me now that the best way to tell PULSO would had been the blog / twitter / facebook: that typology that allows to emulate the thrill of reality. And it also provides us freedom to express in the Diantres and Demontres way and Arturito Sandoval giving it everything in the trumpet solo La Semilla because Ponjuán said:…
1. You are better master than I
2. This is the strangest proposal that I have received throughout the Biennale…
3. Come here that I have some old drawings…
I prefer not to put adjectives to anxiety that at that time meant to face the artists, comment on the draft and cross the fingers. Please consult the proverbs in the section of vain and it appears: for the doors to be open, you must start by knocking the right ones. And yet, the good sense must be a matter of habit, because I picked up the phone and made the first mistake…
I intend to say that it was tension of achieving a decent participation of artists in such a short period, and with a complex project, which in some way made up the payroll. Ultimately, it was a spontaneous combustion process that began aimlessly, and when we woke up, it was still there. Despite the artists we should have contacted and we did not; or those who we convened and finally did not get involved.
As it is not time to do the story of each of the meetings (and especially, with an endless retribution, to omit the one of Alberto Casado because it left us speechless) I reinvent myself in the way of Irakere: machuca.
PULSO was a short story. It existed for one week, inaugurating a Monday that does not interested us and completely overlooked; And it happened as an event during the two hottest hours that someone may have lived in the last seven or nine Fridays. Thinking that the heat was not a turning point would aim at least discourtesy with the troubles that Dr. Rubiera experiences every day to inform us that, unfortunately, the same high temperatures will continue.
It is disturbing to explain it as it was not specifically a curatorial exercise, but rather an essay, an exercise by Amed Aroche and Raquel Cruz in the complex plot of visual arts. Arguing its origin in a turbo express mode involves multiple impurities, but can be done in simple sentences: We wanted to participate in the Havana Biennial; and also we had the whim to generate an event, a live show, so to speak in tune with the authorized categorical apparatus. As we decided to do it too late, and I recognize I do not like rush, we used a pre-existing idea of Amed –which he always handled as indefinite future.
Even now, I do not stop thinking about PULSO as a premature project that was consolidated in the way other people were getting involved. And posterior, I suspect that it was necessarily premature: as its origins contain a candor that has been mutating, but had it not been so, it would have annihilated the idea before being undertaken.
· This text has its continuation in Jazz Cats, which will be published shortly in the tabloid Noticias de Arte Cubano.
