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Critic’s Pick
Wifredo Lam: Artist-Poet of Tropical Dreams and Sorrows
The great Cuban modernist, whose politics and Afro-Asian roots shaped his paintings and inspired generations of artists, gets a revelatory survey at MoMA.
出生於古巴、後移居歐洲的超現實主義畫家威爾弗雷多·拉姆（Wilfredo Lam）於週六在巴黎家中去世，享年80歲。他已患病多年。
拉姆先生的作品涵蓋繪畫、雕塑和版畫，二戰後在美國獲得了廣泛關注。他的畫作曾在古根漢美術館和紐約現代藝術博物館展出。他的作品《叢林》（The Jungle）融合了歐洲、亞洲和非洲的藝術風格，曾懸掛在紐約現代藝術博物館位於西53街的舊入口處。 1964年，他榮獲古根漢國際獎展2,500美元獎金。
他最近一次在紐約舉辦的展覽是去年六月在皮耶馬蒂斯畫廊舉辦的，展出的是他的早期作品。拉姆先生是超現實主義運動的主要領導者之一。他曾為安德烈·布雷頓（André Breton）的一首詩作繪製插圖，之後加入了超現實主義運動。布雷頓於1922年參與創立了超現實主義運動。 “略帶神秘色彩”的主題
根據與林先生相識的美國藝術家羅瑪爾·比爾登（Romare Bearden）所說，林先生的創作主題「略帶神秘色彩」。 「這些主題似乎是他古巴經歷的產物。他的作品略帶超現實主義和立體主義的風格。而且，他的作品有一種單色調的特質；他的畫作色彩並不鮮豔。此外，他的人物、植物和樹木的形態也具有線條感。”
比爾登先生補充說：“在歐洲，林先生無疑被認為是20世紀的藝術大師之一，與萊熱、布拉克、馬蒂斯和畢加索齊名。”
在今年發表於國際季刊《黑人藝術》（Black Arts）的一篇文章中，林先生向赫伯特·根特里（Herbert Gentry）講述了他作畫的原因：「這是一種方式——我與人溝通的方式。這只是人們可以自由表達的眾多方式之一。」有些人會用音樂，有些人會用文學，而我則用繪畫。 」
他還告訴居住在歐洲的美國藝術家詹特里先生，他的繪畫靈感來自他的教母。曾參加西班牙內戰
他身材高挑，略顯消瘦，全名是威爾弗雷多·奧斯卡·德拉·康塞普西翁·拉姆·伊·卡斯蒂利亞，出生於薩瓜拉格蘭德。他的名字通常被寫成維弗雷多，沒有“l”。他在哈瓦那求學，10年代中期離開古巴前往西班牙。
1936年至1939年，他參加了西班牙內戰，為共和軍而戰。戰爭結束後，他移居巴黎。 1940年，他返回古巴，之後訪問美國，又回到歐洲。晚年，他的成就使他得以在義大利、瑞典和法國都擁有房產。
1980年，他應古巴政府邀請（他一直與古巴保持聯繫）參加了在哈瓦那舉行的五一勞動節示威遊行，這是他最後一次公開露面之一。
他的妻子露和三個兒子埃斯基爾·索倫、奧貝尼和伊恩·埃里克·蒂穆爾健在。
WILFREDO LAM, 80, A PAINTER, IS DEAD
By C. Gerald FraserSept. 13, 1982
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.
The Metropolitan Museum of Art, New York
#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
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#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. #LatinxHeritageMonthTate
Explore in 360: Cuban dancer and choreographer Miguel Altunaga responds to The EY Exhibition: Wifredo Lam.
Wifredo Lam, La Jungla, 1943
Huile sur papier marouflé sur toile - 239,4 × 229,9 cm
The Museum of Modern Art, New York, 2015.
Digital Image, The Museum of Modern Art,New York / Scala, Florence © Adagp, Paris 2015
⋯⋯更多Huile sur papier marouflé sur toile - 239,4 × 229,9 cm
The Museum of Modern Art, New York, 2015.
Digital Image, The Museum of Modern Art,New York / Scala, Florence © Adagp, Paris 2015
- Wifredo Lam
- Born: December 8, 1902, Sagua La Grande, Cuba
- Died: September 11, 1982, Paris, France
Centre Pompidou
[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.
La Jungla, 1943
Huile sur papier marouflé sur toile - 239,4 × 229,9 cm
The Museum of Modern Art, New York, 2015.
Digital Image, The Museum of Modern Art,New York / Scala, Florence
© Adagp, Paris 2015
Huile sur papier marouflé sur toile - 239,4 × 229,9 cm
The Museum of Modern Art, New York, 2015.
Digital Image, The Museum of Modern Art,New York / Scala, Florence
© Adagp, Paris 2015
*****
Power Station of Art Grows Up With a 10th Biennale
Cuba’s Art Scene Awaits a Travel Boom
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, 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.
His death was confirmed by friends and associates, including John Loomis, the author of “Revolution of Forms: Cuba’s Forgotten Art Schools.”
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.
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.”
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