Argentinian cartoonist Quino passed today aged 88. Joaquín Salvador Lavado, better known as Quino, won an international reputation with his Mafalda series, which shows the adult world as seen through the eyes of children. Its main character, an inquisitive girl who is always asking awkward questions and worries about world peace, has featured in ten books, which have been translated into over 20 languages and published in newspapers and magazines in many parts of the world. Burnt out by the pressure of having to come up with new ideas every week, Quino decided to stop drawing Mafalda in 1973, and spend more time on other projects that give free rein to the caustic humour that has always been his hallmark. Meticulously executed in black and white and packed with telling details, his drawings focus on power relationships, social inequalities and environmental degradation. In short, on all kinds of issues that, as he readily admits, “have nothing funny about them.” Today we bid farwell to possibly the greatest Latin American cartoonist of the 20th century. To pay tribute to his memory, we invite you to read this interview with Quino published in The Unesco Courier in 2000: https://on.unesco.org/36m5leS
季諾（西班牙語：Quino，本名Joaquín Salvador Lavado，1932年7月17日－），生於門多薩，阿根廷漫畫家。
Joaquín Salvador Lavado Tejón, better known by his pen nameQuino (Spanish: [ˈkino]; 17 July 1932 – 30 September 2020)[1], was an Argentine cartoonist. His comic stripMafalda (which ran from 1964 to 1973) is very popular in many parts of the Americas and Europe and has been praised for its remarkable social satire.[2]
Wilfredo Lam, a Cuban-born Surrealist painter who lived in Europe, has died at his home in Paris, friends said Saturday. He was 80 years old and had been ill for years.
Mr. Lam's work - paintings, sculpture and graphics - gained its greatest attention in the United States after World War II. His paintings have been exhibited at the Solomon R. Guggenheim Museum and the Museum of Modern Art. ''The Jungle,'' a blend of European, Asian and African influences, hung at the Modern's old entrance on West 53d Street. In 1964, he won a $2,500 prize at the Guggenheim International Award Exhibition.
His most recent New York exhibition, at the Pierre Matisse Gallery last June, was devoted to his early work. Mr. Lam was a principal leader of the Surrealist movement, which he joined after having illustrated a poem by Andre Breton, who, in 1922, helped to create the movement. 'Somewhat Mystical' Themes
Mr. Lam's themes were ''somewhat mystical,'' according to Romare Bearden, the American artist, who knew him. ''These themes seemed to have been evolved through his experience in Cuba. His work bordered a bit on Surrealism and Cubism. And there was a kind of monochromatic quality; his paintings were not bright in color. There was also a linear quality in his figures and his plant and tree forms.''
Mr. Bearden added that ''Lam is certainly considered in Europe as of one of the 20th-century masters, along with Leger, Braque, Matisse and Picasso.''
In an article this year in Black Arts, an international quarterly, Mr. Lam told Herbert Gentry why he painted: ''It's a way - my way of communicating between human beings. Just one of the ways one can try to explain with full liberty. Some will do it with music, others with literature, I with painting.''
He also told Mr. Gentry, an American expatriate artist living in Europe, that he was inspired to paint by his godmother. Fought in Spanish Civil War
A tall, gaunt, man whose full name was Wilfredo Oscar de la Concepcion Lam y Castilla, he was born in Sagua la Grande. His first name was often given as Wifredo, without the ''l.'' He studied in Havana and in the mid-20's left Cuba for Spain.
From 1936 to 1939, he fought with the Republican side in the Spanish Civil War. By war's end he had moved to Paris. He returned to Cuba in 1940 and later, after visiting the United States, went back to Europe. By the end of his life, his success allowed him to establish homes in Italy and Sweden as well as in France.
In 1980, he was invited by the Cuban Government, with which he had maintained ties, to a May Day demonstration in Havana, where, he made one of his last public appearances.
Surviving are his wife, Lou, and three sons, Eskil Soren, Obeni and Ian Erik Timour.
#WifredoLam was a Cuban artist of Afro-Chinese descent, renowned for using art as what he later called an "act of decolonization." In the 1930s and 1940s, he created his own visual glossary of Afro-Caribbean deities and spirits, fusing them with modes of representation that drew on European Cubism and Surrealism. He referenced West African religions such as Santeria (or Lucumi) and Vodoun (or Vodou) that incorporated indigenous Taíno practices as they spread throughout the Antilles. See his work—a testament to the enduring legacies of Afro-Latinx modern art—alongside 40 objects that celebrate the Caribbean's ancestral traditions in #ArteDelMar. Explore the exhibition online and in-person through bilingual resources met.org/ArteDelMar ---- #WifredoLam fue un artista cubano de ascendencia Afro-china reconocido por usar su arte como lo que él llamaba un "acto de descolonización". En los 1930s y 1940s, Lam creó su propio vocabulario visual de deidades y espíritus Afro-caribeños, fusionándolos con modos de representación inspirados en el Cubismo y el Surrealismo europeos. En su arte, Wilfredo Lam hacía referencia a las religiones del África occidental, como Santería (o Lucumí) y Vodoun (o Vodou), que incorporaron las practicas taínas en su expansión por las islas antillanas. Vea su obra -un testamento a los perdurables legados del arte moderno Afro-Latinx- junto con 40 objetos que celebran las tradiciones ancestrales del Caribe en #ArteDelMar. Explore la exposición virtualmente o en persona a través de recursos bilingües met.org/ArteDelMar Wifredo Lam (Cuban, 1902–1982). Rumblings of the Earth (Rumor de la tierra), 1950. On view in Gallery 359. Solomon R. Guggenheim Museum, New York Gift, Mr. and Mrs. Joseph Cantor, 1958. #LatinxHeritageMonth
翻譯年糕
Tate Explore in 360: Cuban dancer and choreographer Miguel Altunaga responds to The EY Exhibition: Wifredo Lam.
Wifredo Óscar de la Concepción Lam y Castilla, better known as Wifredo Lam, was a Cuban artist who sought to portray and revive the enduring Afro-Cuban spirit and culture. Wikipedia
[Exposition] « Dans la nature tropicale tout se meut sous une quiétude apparente et, seule, la nuit révèle la fête occulte, la danse qui semble être la vie intime de toutes les créatures. La peinture de Lam a révélé ce secret ; ses tableaux ont une distribution musicale, rythmique ; l’espace est le vide que les corps subtils déplacent dans leur tournoiement. » María Zambrano. 1954
Dernière chance pour venir voir ce chef-d'œuvre de Wifredo Lam.
In Cuba, artists are cut off from supplies and the Internet yet celebrated by a coterie of international buyers, a pipeline that is likely to grow with the U.S. decision to loosen its economic embargo.
Ricardo Porro, Exiled Cuban Architect, Dies at 89
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Ricardo Porro, in 2007 in Havana at the School of Plastic Arts, which he designed in 1961.Credit"Unfinished Spaces" by Alysa Nahmias and Benjamin Murray
Ricardo Porro, an architect who gave lyrical expression to a hopeful young Cuban revolution in the early 1960s before he himself fell victim to its ideological hardening, died on Thursday in Paris, where he had spent nearly half a century in exile. He was 89.
Mr. Porro lived long enough to see his two National Art Schools — begun during a utopian moment in the Cuban revolution, then abandoned as counterrevolutionary — newly embraced around the world as the crown jewels of modern Cuban architecture.
His School of Modern Dance and School of Plastic Arts erupt from the verdant landscape of what had been the Havana Country Club, in Cubanacán, a suburb of Havana. Premier Fidel Castro nationalized the course in 1961 to create a campus of five art schools. He all but ordered Mr. Porro to take on the design job. In turn, Mr. Porro recruited Roberto Gottardi and Vittorio Garatti.
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Mr. Porro also designed the School of Modern Dance in Cuba, with brick domes and vaults built by hand in the Catalan style.Credit"Unfinished Spaces" by Alysa Nahmias and Benjamin Murray
Together, working feverishly, they created serpentine little villages of brick and terra cotta, meandering organically through dense acreage and embodying an Afro-Caribbean quality of “cubanidad” — buildings that could be nowhere else but Cuba.
Mr. Porro’s two schools have voluptuous brick domes and vaults, built by hand in the Catalan style reminiscent of Antoni Gaudí, that are almost bodily in their gentle embrace. Supporting them, and contrasting with their soft curves, are angular columns and buttresses that speak of the shattering force of revolution.
“In Cuba, Porro took the Catalan vault and made it dance,” said Warren James, a New York architect who represents the City Council speaker, Melissa Mark-Viverito, on the Museum of Modern Art board. “He painted and sculpted with it. In a Caribbean context, with a tropical exuberant landscape, his architecture remains revolutionary.”
That was exactly his intent, Mr. Porro recalled in a 2011 interview with The Atlantic. “When I received this commission, I thought there had not been a good expression of revolution in architecture,” he said. “I wanted to create in that school the expression of revolution. What I felt at that moment was an emotional explosion.”
Before the schools were completed, however, artistic expression was stifled as Cuba moved into the Soviet orbit. Mr. Castro had famously answered his own rhetorical question in 1961 about the rights of writers and artists: “Within the revolution, everything. Against the revolution, no rights at all.”
Almost overnight, the art schools’ distinctive style was officially anathema. “You realize that you’ve been accused of something,” Mr. Porro recalled in “Unfinished Spaces,” a 2011 documentary directed by Alysa Nahmias and Benjamin Murray. “And then you realize that you have been judged. And then you realize you are guilty. And nobody tells you.”
That was when he left for France, where he continued to practice architecture, most recently in association with Renaud de La Noue in Paris. In the breathtaking Collège les Explorateurs of 1996, in Cergy-le-Haut, northwest of Paris, they seemed to channel cubanidad, Gaudí and Le Corbusier simultaneously — if such a thing can be imagined.
Mr. Porro was invited back to Cuba for the first time in 1996 and joined Mr. Gottardi and Mr. Garatti to restore and complete the National Art School. The process is “slowly moving forward,” Mr. Loomis said.
Ricardo Porro Hidalgo was born in 1925 in Camaguëy. He studied architecture at the University of Havana, from which he graduated in 1949. He met Mr. Castro through the brother of his fiancée, Elena Freyre de Andrade, Mr. Loomis wrote in an obituary on the Repeating Islands website.
Mr. Porro’s survivors include his wife and their daughter, Gabriela Porro.
After graduation, Mr. Porro traveled to Paris, where he met the Cuban painter Wifredo Lam, whose embrace of cross-cultural references would greatly influence him.
In 1957, Mr. Porro’s clandestine opposition to the regime of President Fulgencio Batista placed him in imminent danger of arrest. He fled with his wife to Venezuela. There he met another great influence on his practice, the architect Carlos Raúl Villanueva, as well as Mr. Gottardi and Mr. Garatti.
Mr. Porro first visited New York as a teenager, when his parents expected him to be a lawyer, said Josef Asteinza, who is working on a documentary about the Modern movement in Cuba and who visited Mr. Porro last month in Paris.
On a ferry to Manhattan, the young man could not disguise his excitement about the city and all its buildings. Mr. Porro recalled his father as saying, “Ricardo, I don’t know the future but I know two things: One, you will not study law; and two, you will not die in Cuba.”
Statue of Mafalda in the "Paseo de la Historieta", Buenos Aires.
Wifredo Lam (Cuban, 1902–1982). Rumblings of the Earth (Rumor de la tierra), 1950. On view in Gallery 359. 
